I think this piece would be greatly improved if Disjecta:
1) added a bunch of quick cuts -- you know, the type with swooshy sound effects
2) used some sort of fast paced grunge metal with a guy screaming incoherently over the top
3) and really, all those dissolves? How about some wipes, that would really be pro
4) I really think he should use more Magic Bullet. This footage is just screaming for the Matrix filter from Magic Bullet.
5) And who can really get professional results without Shake? With Shake he could make all of the trees rattle to the aggressive, loud music
6) And finally story story story. Could one of the big trees attack one of the smaller trees? That would really set up some nice conflict. I think one of the ducks could intervene on the smaller trees' behalf and the film could develop into a nice relationship story between the tree and the duck (the duck is already nude -- one of the few things right about this flick -- but we need a good sex scene). Their relationship could then become complicated by a love triangle involving Thomas the Train, who flies off the tracks at the end and dies in the arms of the waterfall (need some blood and guts in there). But it's only a stomach wound so before he dies he has time to engage in cleaver indie film dialogue with the waterfall about what they call a Big Mac in Paris, Madonna Lyrics, and throwing Samoans off roof tops.
Now that would be a film worth watching!
Just kidding. I'm in awe of Disjecta. You either get the whole vibe surrounding this type of work or you don't. Nature photography might not be your cup of tea. But you also either get what it takes to pull this off technically and aesthetically or you don't. And as far as that goes: If you can't even tell where the mark is / what quality work is, purely from a compositional, craft and technical standpoint, what chance do you ever have of achieving that level? It takes an eye to achieve this and it takes an eye to know why it is impressive / moves us.
Sure, Disjecta works with the greatest art director of all times (credited as God for union gigs, and Mother Nature for indie work in the IMDB), but the whole point of cinematography is to present a subject in a way that reveals something about said subject as uniquely seen by the eye of the cinematographer, and then captured and communicated to the viewer via composition, craft, and technical proficiency.
:thumbsup:
1) added a bunch of quick cuts -- you know, the type with swooshy sound effects
2) used some sort of fast paced grunge metal with a guy screaming incoherently over the top
3) and really, all those dissolves? How about some wipes, that would really be pro
4) I really think he should use more Magic Bullet. This footage is just screaming for the Matrix filter from Magic Bullet.
5) And who can really get professional results without Shake? With Shake he could make all of the trees rattle to the aggressive, loud music
6) And finally story story story. Could one of the big trees attack one of the smaller trees? That would really set up some nice conflict. I think one of the ducks could intervene on the smaller trees' behalf and the film could develop into a nice relationship story between the tree and the duck (the duck is already nude -- one of the few things right about this flick -- but we need a good sex scene). Their relationship could then become complicated by a love triangle involving Thomas the Train, who flies off the tracks at the end and dies in the arms of the waterfall (need some blood and guts in there). But it's only a stomach wound so before he dies he has time to engage in cleaver indie film dialogue with the waterfall about what they call a Big Mac in Paris, Madonna Lyrics, and throwing Samoans off roof tops.
Now that would be a film worth watching!
Just kidding. I'm in awe of Disjecta. You either get the whole vibe surrounding this type of work or you don't. Nature photography might not be your cup of tea. But you also either get what it takes to pull this off technically and aesthetically or you don't. And as far as that goes: If you can't even tell where the mark is / what quality work is, purely from a compositional, craft and technical standpoint, what chance do you ever have of achieving that level? It takes an eye to achieve this and it takes an eye to know why it is impressive / moves us.
Sure, Disjecta works with the greatest art director of all times (credited as God for union gigs, and Mother Nature for indie work in the IMDB), but the whole point of cinematography is to present a subject in a way that reveals something about said subject as uniquely seen by the eye of the cinematographer, and then captured and communicated to the viewer via composition, craft, and technical proficiency.
:thumbsup:
