inside front cover 1 by Greta 2
inside front cover 2 by Greta
Table of Contents
Meet The Creator s!
Letter From The Creator s!
06- 07
04- 05
Crossword Puzzle 09
08
Behind The Score Greta Stockbauer
10- 13 Oscar s Or iginal Score Greta Stockbauer
14- 15
Acting For The Environment Mar a Khur shid
4
16- 21
Lights, Camer a, Environmental Action!
The Acting Process Katie Tar in
24- 27
Mar a Khur shid
22- 23
How Did We Get Here? Daniel Balic
How To Cr y On Cue
30- 33
Katie Tar in
28- 29 No Camer as Allowed Daniel Balic
34- 35 Captur ing Life Julian Felix
36- 39
Mise en Scene Julian Felix
40- 41 5
Meet the Cr eator s! Hi! My name is Greta Stockbauer and I am the layout editor of our magazine. I also wrote the article, Behind the Score, which is about the process of film scoring and what role music plays in film. I enjoy both music and film which is what led me to writing my article. I am also a musician which made me curious about what it is like to create the music you hear in the background of movies. I also created the infographic about the Oscars Best Original Score Award. This infographic goes hand in hand with my article because it showcases some examples of films scores that are critically acclaimed.
Greta
Hey! I?m Mara Khurshid, the feature editor of the magazine you?re reading right now and the author of Acting for the Environment, an article you can find later on in the magazine. I also created the drop caps at the beginning of each article (hold the applause). I love reading and writing and want to become a writer, so it has been really fun for me to co-create this magazine. I learned a lot about different types of writing. I also care deeply about our environment, which is why I chose to
Mar a 6
write about it. We put a lot of work into making this magazine. I hope you have fun reading it!
Hi, my name is Katie Tarin and I am the infographic Editor for our ezine. I?m also the author of the article The Acting Process which discusses how actors get into character. I also created the infographic for acting techniques. I love creating stories and filmmaking is just another way of telling them. One of the largest aspects of a story is the characters in them, and it?s the actor ?s job to bring them to life. Getting to learn about the psychology behind transforming into a completely different person has been an incredible journey and I can?t wait to share it with you!
Katie
Hello, I am Daniel Balic, the fact-check editor for Filmpact, so I make sure that everything here is factually correct. I wrote the article How Did We Get Here? and the infographic map about censorship. I have always had an interest in the worlds that films are set in, so it was a natural progression for me to be interested in the process by which these worlds are brought onto the screen. The infographic on
Daniel
censorship was really just another variation on my study of the different worlds of film.
Hello, I am Julian Felix, the content editor of Filmpact, I am responsible for writing Capturing Life, about the work of a professional photographer. I have watched all kinds of films from a young age, and have always been interested in the efforts of the crew, behind the scenes. I also play multiple instruments, and have a passion for music, especially those of movie soundtracks. I also created the infographic Mise en Scene, about different elements of mise en scene. The world of cinematography is wonderful, and I cant wait to help share it with you!
Julian 7
Welcome to our ezine! We created this electronic magazine for our Digital Media class. This is our first ezine, and we made it during a pandemic, so don?t be too hard on us. We chose film to be the topic of our magazine because we?re all very passionate about the film industry and the process of filmmaking. Our individual article topics are location scouting and management, the environmental impact of the film industry, the acting process, film scoring, and cinematography. Although writing stories is usually what comes to mind when people think about the creation of a magazine (and a movie), there are many other components to the process. To make this magazine, we created infographics and took and obtained photos. We made many team decisions about fonts, colors, design, and more. We planned the layout of our pages. We found and reached out to professionals on our article topics and scheduled and prepared for interviews with them. And then, of course, we subsequently had to sit through a half hour of awkwardly staring at a stranger on a Zoom screen. As you can see, this wasn?t easy. It even took us quite a while to come up with our title, ?Filmpact?. We went through many, many potential titles, one of which was 95 words long. Creating graphics meant we had to learn how to use a graphic design program and go through a painstaking process of improving a shape we?d been working on for ages. And then with the stories themselves, we had to learn what a feature story was and how we should attempt to write one. Creating our ezine was difficult and required a lot of effort, but we learned many valuable skills in the process that we can use in the rest of our lives. In the end, we feel grateful for what this opportunity has taught us. We hope you enjoy our ezine. Thanks for reading!
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C A M E R DOWN: 1 - the art of producing film 2 - a place 3 - the industry that's the topic of our magazine 4 - someone whose job is pretending to be other people 5 - the area on an electronic device where info is displayed 6 - a section of a play, larger than specific lines 7 - the location where a movie/show is filmed 8 - the name of our planet 9 - the first word of an old-timey name for "movie" 10 - noise 11 - liquid made in actors' eyes in emotional scenes 12 - video and audio recording of a section of a movie/show 13 - the means for mass communication (includes news, entertainment, etc) 14 - the written dialogue of a movie or show
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Here's a cool crossword you can do! ACROSS: It's full of terms related to our feature 1 - directors say this to tell the crew to stop filming stories, so it'll give you an idea of 2 - spool that film is wound what the rest of the magazine will be around for a projector about. Have fun! 3 - people who like a 3 movie/show F A N S 4 - sections in a play, larger I than scenes 4 6 5 - another word for take L A C T S 6 - sound that's pleasing to 6 7 M U S I C C the ear 7 7 - a melody E T U N E 8 - the natural world, Earth E N T O N 9 - a part in a show/movie, a 9 character R O L E 10 - one particular sound in a 10 S melody 11 12 11 - the financial manager O T F who oversees production 14 D U C E R O S 12 - famous industry located N A O C in New York 13 - supervises the crew, 13 D I R E C T O R actors, and staff 14 - type of recording device S A I
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Behind the Score The Process Behind Film Scoring and Why Makes a Good Score By Greta Stockbauer
10 Greta Stockbauer
he movie theater goes
T
dark as the
just a simple change in
The people who create film
background music, this scene
scores are called film
has two completely different
composers. They work with the
tones.
director and editor to add music over a film.
screen lights up. On the screen, the sun is rising from behind the landscape of an epic mountain range. The sound of smooth violin music surrounds the
?
Part of the skill of being a good film composer is knowing when that is,
order to fulfill the vision of the
the mountains.
so it is important that
director and tell the story properly.
composers think of
- Brain Satterwhite, Film Composer
?
crescendos to a calm hum as and fully emerges from behind
presenting the story of a film,
that really need the help of music in
room, softly at first, then the sun slowly rises up the sky
Music plays a big role in
looking for those moments in the film
Music is essential to film and plays a major role in how the story is told. Music in film serves as a way to support the
Now, picture the same scene
story that is being shown on
but instead of a sweet violin,
screen. Film scoring is the
the deep rumbling of drums
process of creating music to be
plays in the background. With
included in a movie or a show.
functionality when scoring. ?The music is there to help the film, it's there to help the story,? said Brain Satterwhite, a professional film composer based in Austin, Texas. ?I always use the analogy of a car. Cars come in all shapes and sizes, but really the point of a car is to get from point A to
Sam Lipman working with the New Jer sey Symphony and Maestr a Joann Falleta on a film score. Cour tesy of Sam Lipman. Greta Stockbauer
11
point B. So if a car has square
of the time, it follows roughly
to fulfill the vision of the
wheels, it is not a good car. No
the same steps.
director and tell the story
matter how beautiful it is or how comfortable it is, it?s a terrible car because it has square wheels. Film music is like that as well. It doesn?t matter what it sounds like, it has to function. It has to have a utilitarian purpose within the
properly. After I do that, I know ?The first step and the most important step is always conversation,? said Brain Satterwhite. ?Talking with the director of the film is usually
how many pieces of music I have to write, I know how long each piece of music is, so now I just have to sit down and start writing.?
the first step because you want to begin that collaboration
Much of the film scoring
right from the very beginning
process is decided in
and it begins with
conversation between the
The role of music in a film is to
conversation. We talk about
director and composer when
help carry the story and give it
the film they?re making, we talk
they figure out what sound the
what it needs to function
about the characters, and we
movie should have. This
properly.
talk about their vision.?
consists of the composer
film?.
experimenting with different When asked what makes a
After the composer talks with
good film score, Sam Lipman, a
the director and the film is in a
film composer and Professor
rough edit stage, the composer
of Film Scoring at the
does something called
University of Texas answered
spotting.
?The important thing is to tell that story. The real skill boils down to interpreting the story and the characters, knowing when to write music, when not to write music, transitions, irony, underscore, main themes, and working with the director.?
sounds, sending them off to the director, and having them returned with comments or adjustments. At the beginning of the process it might be hard for the composer to write the first cues.
?Spotting means you decide basically where music goes. You find the endpoint and the outpoint and then the next endpoint and the next outpoint.? said Satterwhite.
?The number one struggle is aligning your taste with the directors or the editors,? said Lipman.
?Part of the skill of being a good film composer is knowing
After the composer and
when that is, looking for those
director have made a decision
The film scoring process varies
moments in the film that really
on how the music should
from movie to movie, but most
need the help of music in order
sound, the composer gets to
12 Greta Stockbauer
work writing it.
?Once the first 25% of the film
Sam Lipman conducting a orchestr a. Photo cour tesy of Sam Lipman
is written, it begins to go much much quicker because all those decisions are made.? said Satterwhite ?I just have to build it up from there.?
Film composers are on really tight deadlines a lot of the time, so they have to be quick
musicians and budget in
sitting in the theater for the
when writing.
violinists, woodwind ensemble,
very first time and the film
rock bands,? said Lipman. ?Real
comes on the screen,? said
?Scoring a film takes a lot of
musicians are missing more
Satterwhite. ?I can hear my
work,? said Satterwhite. ?It
and more because of virtual
music coming out of the sound
takes a lot of time. Sometimes
instruments. Real music will
system, and I see my name up
you?re not given enough time
take that film to another level.?
on the screen. That never gets old. That?s the reason that
to do that work, and so it?s just
makes it all worth it.?
the labor of it. Just the sheer
After the recording is complete,
focus. Some scores I?ve worked
the composer edits the
twenty hours a day for a
recording to make the music
Music is one of the essential
number of days on end.?
sound as clean as possible
building blocks of film because
when it is inserted into the
it helps tell the story and set
When the composer is done
movie. Then, the composer
the tone of a movie. The next
writing the music, they will
sends the music to the editor,
time the movie theater dims to
either record it with real
who then adds the music into
make way for a fictional
instruments or use
the movie with the dialogue
sunrise and an immersion into
synthesizers to replicate real
and sound effects. A
an alternate reality, think about
instruments. Composers
composer ?s job is finished once
the work that goes into making
usually prefer real instruments
the files are delivered.
the film and how music is used to enhance it and tell a story.
and musicians. ?It is important to hire real
?The best feeling is when you?re
Greta Stockbauer
13
Oscar s Or iginal Scor e By Greta Stockbauer
Most Awar ds
Female Nominations and Wins
Alfred Newman with 9 awards (41 nominations)
Most Nominations John Williams with 47 nominations (5 awards)
Most Nominations Without Winning Thomas Newman/Alex North with 14 nominations
Genr e Per centage Gr aph
14 Greta Stockbauer
7 females composers have been nominated - Anglea Morley (First transgender woman to be nominated in any category), Marilyn Bergman, Rachel Portman, Anne Dudley, Lynn Ahrens, Mica Levi, and Hildur Guðnadóttir. Out of these women only 4have won the award - Rachel Portman (3), Hildur Guðnadóttir, Anne Dudley, and Marilyn Bergman.
Winner s Fr om Past Year s 2019 Joker Hildur Guðnadóttir
2018 Black Panther Ludwig Göransson
2017 The Shape of Water Alexandre Desplat
2016 La La Land Justin Hurwitz
2015 The Hateful Eight Ennio Morricone
2014 The Grand Budapest Hotel - Alexandre Desplat Greta Stockbauer 15
Acting for the Envir onment How Businesses Have Made the Film Industr y More Sustainable By Mar a Khur shid
These images contr ast a polluted ocean (left) and a clean one (r ight) after environmental measures were taken to clean it up. Cour tesy of Green Spark Group.
That could be Earth if action isn?t taken now.
P
Picture a desolate, stark wasteland. A few
animals would be struggling along, diseased and gaunt, fed by sparse patches of unhealthy plants. All remaining life would always be in the middle of a climate disaster, constantly on the run. They would be burdened with the sense of impending doom because this can only get worse.
In the 21st century, more and more businesses have been founded with the aim of reversing the film industry?s impact on the environment. Although the film industry itself doesn?t produce a lot of the total carbon footprint caused by humans, the industry is very public and its nature and position in the global economy are perfect to showcase the best of the latest sustainable technology. The
The above image shows an environmentally- fr iendly waste disposal station on set that help reduce emissions caused by waste. Cour tesy of Green Spark Group. film industry becoming more environmentally-friendly makes it very likely that other industries will be influenced to do so as well. Zena Harris is the founder and president of Green Spark Group, an organization dedicated to helping the film industry consistently integrate sustainable practices. Green Spark was founded in Vancouver in 2014, and that influenced a lot of the decisions the company would make later on.
18 Mar a Khur shid
VoltStack machines are able to function anywhere, even in crowded Times Square. Cour tesy of Por table Electr ic.
?Vancouver is the third-largest film hub in North
Some factor ies release dangerous
America,? Harris said. ?So it was a good place to
emissions, greatly har ming the
have these conversations, ignite the interest
environment and contr ibuting to climate
and motivation in the film industry and support
change. Cour tesy of Green Spark Group.
governmental, municipal climate action that was starting to happen as well. Nobody was doing that in Vancouver at the time, specifically in the film industry? Nobody was really focusing on pulling together stakeholders and working on production in a consistent manner to integrate sustainable practices, so I saw that gap in the market and I started a company to fill the gap.? Green Spark uses data to figure out the most efficient way to reduce emissions. Then, they apply that to what they know about the film industry and figure out an action plan.
vehicles. The film industry uses these vehicles for location scouting, sending actors and actresses to set, picking up or shipping materials, and other jobs needed to prepare for filming. Because the industry needs so many transportation devices, the effect on the environment is only worsened when the vehicles are consistently misused. ?These big work trucks that have equipment packed in them can sometimes just sit there and idle,? Harris said. ?And that?s obviously a
?It is now known that fuel consumption makes
waste of money and not great for
up the largest part of a production?s carbon
emissions.?
footprint,? Harris said. ?And so that has to do with the various work trucks, equipment, rental cars, air travel is a part of it as well. These are all factors that are very carbon-intensive on a production. And so knowing that, having that information? it is very much the focus of the industry to reduce fuel consumption.? Transportation makes up a lot of the industry?s carbon footprint partly because filmmakers sometimes misuse their
Green Spark's goal is to benefit the environment while saving the industry money. There are many ways to make filmmaking more sustainable that also help the industry, like cheaper alternatives to diesel generators. ?Another big [way] is equipment, so this would be generators, in particular, which power the set on location,? Harris said. ?Those are running off of diesel.
Combining sustainability
There?s been a lot of work, and there still
and the film industr y as
needs to be a lot of work, done on
shown in the imageis a
reducing the number of diesel
smar t, power ful move
generators used in production.?
that benefits the whole world. Cour tesy of Green Spark Group.
Green Spark isn't the only company
Mar a Khur shid
19
trying to lower the carbon footprint.
here. It was called the Great Climate Race,? he
Portable Electronic works to reduce diesel
said. ?And the organizers said, ?We want to
generator use in the film industry. Founder
power the whole thing, but no fossil fuel
and CEO Mark Rabin explains that his
generators.?And I was like, ?Huh! That?s
business provides battery-powered,
interesting.?So I looked around.?
emission-free generators to many
Rabin got valuable experience after starting a
industries.
failed business that made off-grid power
?A gas or diesel generator is a mechanical
systems in South Africa and Namibia a few
machine that is combusting fuel, so it?s
years before founding Portable Electric. This
always on,? said Rabin. ?For the engine to be
made his views about entrepreneurship interesting.
?
Climate change is obviously what will make or break our species. So we, in all industr ies, need to do something about it.
?
Zena Har r is, founder of Green Spark Group
?You know how you always talk about inspiration and innovation and ideas just coming out of thin air?? Rabin continued. ?That?s never the case. It?s always something that you?re doing or thinking about. And so when I started looking deeper and deeper, I
moving, it needs to be burning fuel, and most productions and most job sites that use generators, actually only use a fraction of the power outlet that it can produce,
realized that you could not rent an industrial-grade renewable power system. You couldn?t do it. And so that's when I incorporated Portable Electric in 2015.?
which means that you?re wasting fuel,
When Portable Electric was founded, it was
wasting resources. Versus the efficiency of
not intended to be a company that made
the electric generator, it?s unparalleled,
generators primarily for the film industry.
really.?
Rabin thought it would serve many industries,
These emission-free generators are the product of a long process of developing the
like healthcare, utilities, and others. But when he launched his business, the film industry became Portable Electric?s main customer
machines. Although Rabin says entrepreneurship isn?t for the faint of heart, he believes the end result is worth it. Rabin
because the match between product and industry was near perfect.
explains why he decided to found Portable
?What we?ve found is that in film and
Electric.
entertainment, it fit in,? Rabin said. ?Noise is
?I was asked to be the power coordinator for a 5 and 10k running race in Vancouver
one of the features of our [products], no noise, no emissions, you can move it around,
An aer ial 20 Mar a Khur shid
Green Spark Group and Por table Electr ic's headquar ter s are located
you can put it in confined spaces, you can put it in sensitive nature areas? This product actually saves them time and money. It actually does something that they couldn?t do, creatively, tied to a generator.?
more open about sustainable practices. ?The great thing about the film and TV industry is that it?s made up of storytellers. That has been underutilized in the behind-the-scenes sustainability space,?
These products help the film industry
Harris said. ?Communicating what we?re
become more sustainable, which, according
doing behind the scenes, gives those crew
to Rabin, is very important because the
members in other parts of the world, and
industry is global. Changing something that
producers, etc, the confidence to try these
is worldwide can change many people?s
things, these practices, or some new
mindsets about this important issue.
equipment, or whatever it is, on their own
?The film industry is such a creative and innovative industry that this should be its number one mandate: to completely transform how productions are done and really take that visionary leadership role,? Rabin said. ?The film industry can showcase moving all electric? new energy
productions, and so that is critical for this motivation and behavior change element. And that is something that the industry still hasn?t realized its potential yet. That is definitely an area of opportunity, telling these stories, because I think that will give folks a lot of confidence.?
technologies, new lighting technologies, new
?Climate change is obviously what will make
production methods. The film industry can
or break our species,? Harris said. ?So we, in
be like a microcosm of this and really, really
all industries, need to do something about
take a leadership role in that.?
it.?
Harris believes in a similar idea. The industry can make great steps toward being more green if people are just There are many different types of VoltStack machines that can be used for many different functions. Cour tesy of Por table Electr ic.
shot of Vancouver, Canada, where
ed. Cour tesy of Green Spark Group.
Lights, Camer a, Envir onmental Action!
e t s a
What Makes Up the Film Industr y's Carbon Footpr int and How We're Decreasing It
w
Water conservatio major part of the e to reduce the was the film industry. M organizations that the film industry g have set up water stations, to encou people to reuse th water bottles or b reusable water bo
By Mar a Khur shid
The film industry's contribution toward global warming and responsibility to advocate sustainable practices have often been unnoticed or glossed over. The industry is in a perfect position to influence other industries that are more harmful to the environment by being a role model of sustainability, as the film industry is global and in the public eye. These are some causes of emissions and what the industry is doing now to combat those and become more sustainable.
y
This graph doesn't account for what happens after a film is made: the distribution of that film. The emissions from how movie theaters are run and packaging of the film are also significant towards the overall impact of the film industry on the environment.
Solar energy is the most common renewable source of energy used in modern film production. Wind energy is the second most popular.
film set. Cour tesy of Green
e
Spark Group.
n
A woman usng a camer a on a
e
r
g
Howev still the energy indust busine change
22 Mar a Khur shid
Composting and recycling drastically decreases the amount of waste. And this can be done at home, too!
on is a efforts ste from Many t make greener filling rage heir ring a ottle.
Costumes from a movie/TV show, sometimes worn just once, are often thrown away, which further pollutes the environment, instead of being donated.
All graphics and text by Mara Khurshid unless noted otherwise.
30% of all carbon emissions are caused by air travel.
The need for transport is embedded in the industry's very nature. Productions need means for transportation for jobs like location scouting, sending materials to film sets, sending actors and actresses to filming locations, and much more. If we continue working on developing and using sustainable transportation methods, the film industry can on its same route in a better Earth.
e t s
Set lighting uses aa lot of energy.
w
ver, fossil fuels are e most common y source in the film ry. Some modern esses are trying to e that.
Film producers use a lot of trucks to haul big equipment around. 70% of all carbon emissions are caused by land transport.
Mar a Khur shid 23
The Acting Process The Psychological Aspects of Getting Into Char acter By Katie Tar in
24 Katie Tar in
ome people have lived a thousand lives, whether through reading or watching movies, but the best kind is when someone gets to create their own life, be a part of the creative process of making a new world. An actor not only gets to live in a different world, they also get to help create and build it.
S
Acting is the art and process of analyzing a character, then using that knowledge to give an authentic performance. It?s a psychological process where people try to understand and justify a character ?s emotions, thoughts, and actions. Actors can spend days, weeks, and even months researching to create a persona with the hope that they will affect the audience in some way. It?s all about their thought process and how they can change
the way audiences perceive the world and their morals. Brittany Flurry, an actress and acting instructor at Austin Community College begins her acting process with analyzing the script. ?I?m reading it, and looking at it almost as if I?m an archaeologist and this is my dig that I?m uncovering, and I?m looking at it again and again, looking at it from different points of view,? Flurry explained, ?I?ll also spend a lot more time creating character back story, and creating things that may not be in the script, but that I know fit in, and are supported by the script and then just help me flesh out a character and make them a little more well rounded, give them a little more depth?. Actors have to do a lot of research to learn the most they can about their character. Being thorough and intelligent with the questions they ask themselves when
Corey Allen in theater play ?Henry V? as Chorus for the Great River Shakespeare Festival.
researching and planning is important because there are little details found in all personalities that make someone who they are. Having enough information to portray a well rounded character is vital to giving an authentic performance. When asked about how he gets into character, Corey Allen, an actor and acting professor at The University of Texas at Austin says, ?I have to know what it is that my character wants, what world they?re inside of, what they are willing to do to get it, and then ultimately, so that it?s realistic, what?s at stake for them? I mean what happens for the character if they get the thing that they want, and what happens to the character if they don?t get the thing that they want? Because the answer to either of those questions determines how they show up in that scene.?
know that I?m angry.? So recreating that in an imaginary environment I think is more challenging than some of the others.? Some people need to listen to sad music or watch a sad scene from a movie to cry. Others need to remember sad memories. But as Allen said, tears are just a product. In order to give a good performance, an actor needs to block out their own feelings, and amplify how their character feels. Flurry likes to use the ?as-if ?method of creating a scenario as if something happened. ?I feel like the as-ifs are really helpful to create circumstances, or to create a back story. If I?m using my imagination, and I?m really pretending I'm this person, and I'm imagining
Once an actor knows the nuances of their character, how they would react to certain situations, and their overall role in the film, the next step is understanding their emotions. Creating an emotional scene is one of the most challenging parts of being an actor, whether it?s being able to cry on cue or having to show authentic emotions they don?t actually feel. Allen says, ?For a lot of people, crying is the most difficult because it?s a product, there?s a result, you know when someone?s crying or not. If the tears don?t fall, the crying is not taking place.? He continues, ?I think real anger is hard. Because ultimately, when you?re in rehearsal or you?re shooting, you know that you?re not angry at that other person. You know that you like them. If you?re angry, you?re just like, ?I?m angry and I want you to 26 Katie Tar in
Brittany Flurry on set as ?Maya?for short film ?And Breathe? written by Molly McKee and produced by Team Teamwork.
that I've lived through these things, and the more details that I can give them, and the more examples and instances I can create in my head, the emotions start to come pretty easily.? The ?as-if ?method is just another way actors get deeper into their characters to create the most believable performance possible. Studying a character and creating their persona might be one of the easier parts of being an actor because the next step is letting all of those thoughts go to focus on the moment when performing. Actors spend the majority of their job gathering details to develop a character, but once they get on
?We have a chance to tell stories for people who can?t tell them. - Brittany Flurry, actress and acting instructor at Austin Community College
?
stage, they need to be able to have that information so ingrained into their head they no longer need to think about it and they just know how their character would respond in any situation given. Flurry explains, ?When I'm in the moment, my goal is to have my focus be entirely on my scene partner. And to trust that I know the lines, to trust that I did the work in creating this character. I don't have to think about me anymore. I'm putting my attention on the other person and I'm really listening and taking in what they're saying. And then what they're saying is going to elicit a response from me, it's going to strike something, it's going to inspire something.? The whole point of giving a performance is to get a reaction out of an audience, whether it's
Corey Allen performing as a chorus member for Shakespeare Theater Company?s ?The Oresteia? play.
an inspirational feeling that makes people want to change the world, or a deep realization that makes them look at life with a different perspective. ?I think as a person, I always hope to entertain or give the audience something they recognize as human, something they recognize as real.? Allen goes on to say, ?Something like a person that they know, or an experience that they felt? I want the audience to think, to feel, to be moved.? Flurry similarly says, ?I think that's one of the best things that can come out of art, is that people leave having been affected, whether it is inspired or whether they decide to take a look at themselves or look at the world around themselves and see it in a different way.? Katie Tar in 27
How To Cr y On Cue 2
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3 Think of Sad Memor ies
Stay Hydr ated
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5 Go Through Cr ying Motions
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Don?t Blink
6 Listen To Sad Music
Watch Sad Movie Scenes
Courtesy of: A24, B-Reel, and Square Peg
This scene is from Midsommar, a hor ror and thr iller feature film. Florence Pugh star s as Dani, and this iconic cr ying scene is chilling. It begins with only Dani cr ying, but ends with ever yone else cr ying in unison.
Sar ah Paulson is most commonly known for her var iety of roles in American Horror Story. The picture below is from one of her most iconic cr ying scenes in the show from the second season, ?Asylum?.
Katie Tar in 29 Courtesy of: 20th Television
Daniel Balic
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Daniel Balic 33
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Capturi ng
LI FE A view into the work of a photographer
By Julian Felix 36 Julian Felix
Bryan Kuntz is a professional photographer "The video crew will get based in Austin, Texas, and everythingset up, they?ll get has been shooting photos the lights, they get the models, for over 35 years. He is they?ll get their take finished. currently a Senior And at the end of that I jump in for a few minutesand Photographer at Dell shoot several still shotsof that Technologies, and even ran same scene." -Bryan Kuntz his own photography studio, Bryan Kuntz Photography, for over twenty years. He is an expert in his field, and loves what he does. I had the pleasure of interviewing him regarding his daily work, his personal ventures, and the nuances of being a full-time photographer.
During a typical shoot with Dell Technologies, Kuntz will mostly stand by and observe other photographers, videographers, and set designers. Only during the final part of the shot does he come in, and shoot for about an hour. This is because he needs to wait for the videographers to finish,
Julian Felix All imagesare courtesy of Bryan Kuntz
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so he can take still shots of the subjects. After the shoot is over, Kuntz has the photos sent back to him, so that he can retouch and edit them. He is fluent on most Adobe platforms, including Photoshop, InDesign, Illustrator, and more. Kuntz is usually on site during shoots for 8 - 16 hours on average, and even exceeding that on special occasions. ThisFelix is the case for 38 Julian many photographers, who
"... we were up there for 15 daysshootingsunrise or sunset, you know, working twenty hour work dayson few hourssleep."
need to take quality shots in the desired time slot, depending on the weather, time of day, and wildlife. Doing so often requires traveling to far off and remote locations. Even so, Kuntz enjoys his work. The payoff of those long
"You know, I just have so many different thingsthat I enjoy shooting? I don?t think I will ever stop lovingphotography."
shooting stretches often comes not only monetarily, but also in the form of excellent shots, surely something to be proud of. Although he is currently employed at Dell Technologies, Bryan Kuntz often shoots outside of his work. He enjoys shooting all kinds of subjects, including nature, landscapes, people, skies, monochromatics, and more. To Bryan, photography is just as much a lifestyle as it is a profession. He even does commissions for all kinds of individuals and organizations, ranging from large companies and corporations to local restaurants. Kuntz specializes in capturing the
essence of people, employing various areas of his vast expertise. He makes sure to take into account camera angle, subject placement, and lighting in all of his pieces. Kuntz posts his work at bryankuntz.com.
M i se en Scene An eye-l ev el sh ot is a neutral and unbiased shot. As the name suggests, it shows the the subject at eye level. This delivery is widely used, and is a basic technique.
A h i gh angl e sh ot is one that views the subject while looking down at them. This can induce effects on the audience?s perception of the subject. These perceptions include helplessness, inferiority, smallness, and submissiveness.
This l ow angl e sh ot has an effect opposite to the high-angle shot. It causes the subject to be perceived as strong, ominous, dominant and daunting.
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Ci nemati c Ef f ects and h ow th ey i mpact th e v i ew er Low k ey l i gh ti ng causes strong contrast between the dark and light on the subject, causing particular emotions and perceptions of the subject to be shown. This can be achieved by using a singular light source.
Hi gh k ey l i gh ti ng reduces shadows on the subject, which often causes them to be perceived as bright or happy. This can be achieved by using multiple surrounding light sources.
K ey l i gh ti ng is used to emphasize one particular subject, and to diverge them from their surroundings. This causes them to be seen easier, but also as special. This can be achieved by multiple forward facing lights, directed towards the subject.
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Back cover, we don't know who'll do this yet (continuation of hills with film set or maybe a backwards view of Filmpact [inspiration for backwards view])