in a dream-filter on the camera
a guy stands there
a girl walks up really carefree
smiling at a glance and in no rush
she gets to him and holds his hands
at about waist height to the side
as he sheds single tear she
kisses him on his cheek, lovingly
then she looks him in the eye
and says, "run."
break music. break scene. new.
Night Out
Dim dusk light into dark, we spoke quietly at Firehouse 12 of our plans. Natasha was a girl raised by a family that I would describe as gypsies. She told me stories of her loving parents who lived a life of scarcity, on the move. It was in stark contrast to my uncaring parents who had an overabundance, where I stayed always in the same place.
"You're the type of guy I would want to have a child with," she said, "but not right now, because I don't want children," matter-of-factly, as if this were something we were actually both considering.
"Kids aren't on the menu for me either, Natasha."
"We're at a bar. There's nothing even remotely child-related on the menu period."
"You know in Japan the birth-rate is so low that the population is declining."
"I find that hard to believe. They're so cute! the Japanese. They should be proliferating all over the place."
"35 years of consistent annual decline in population of young people."
"Why is that?"
"No one can really figure it out. Some believe they're on the path to extinction."
"Wow, an extinctifying modern ethnicity. Isn't their economy huge though?" says Natasha.
"Third largest," I say.
Jay (in thought, alone on fire escape): I believe Natasha preys on females under her premise that all women are bi- and the difference between a woman and a girl is that women have accepted, come to terms with and enjoy this aspect of themselves which she believes defines females no longer as girls but as women. What's interesting is we're always interested in the same ones; we have the same taste. Her passion are the first-time experiences of others. She's actually a much better pick-up artist than I am. We are an unlikely pair.
"You're right, I am better at it," she says this to me, with confidence under her breath as she sips her martini.
(Cut to scene where Natasha is ordering drinks), which turns into flirting with a single girl standing next to her (Rudy's), which turns into standing outside, which turns into kissing in an alleyway between two buildings in a dim light... return to shot a few scenes earlier where Jay is directly across and standing by himself, watching...
"You're the type of guy I would want to have a child with," she said, "but not right now, because I don't want children," matter-of-factly, as if this were something we were actually both considering.
"Kids aren't on the menu for me either, Natasha."
"We're at a bar. There's nothing even remotely child-related on the menu period."
"You know in Japan the birth-rate is so low that the population is declining."
"I find that hard to believe. They're so cute! the Japanese. They should be proliferating all over the place."
"35 years of consistent annual decline in population of young people."
"Why is that?"
"No one can really figure it out. Some believe they're on the path to extinction."
"Wow, an extinctifying modern ethnicity. Isn't their economy huge though?" says Natasha.
"Third largest," I say.
Jay (in thought, alone on fire escape): I believe Natasha preys on females under her premise that all women are bi- and the difference between a woman and a girl is that women have accepted, come to terms with and enjoy this aspect of themselves which she believes defines females no longer as girls but as women. What's interesting is we're always interested in the same ones; we have the same taste. Her passion are the first-time experiences of others. She's actually a much better pick-up artist than I am. We are an unlikely pair.
"You're right, I am better at it," she says this to me, with confidence under her breath as she sips her martini.
(Cut to scene where Natasha is ordering drinks), which turns into flirting with a single girl standing next to her (Rudy's), which turns into standing outside, which turns into kissing in an alleyway between two buildings in a dim light... return to shot a few scenes earlier where Jay is directly across and standing by himself, watching...
Jay: People think we're out on dates. I'd like to think we're just members of our own society. It was discovered at one point that she was a member of Scroll and Key. I'm a member of Skull and Bones. We met at a party one night when I was walking alone, after an afternoon of working on formulas turned into an all-night session of research and testing. Late into the evening, I wandered about, still in deep thought but in a peculiar dream-like state, actually looking for people to hang out with perhaps, or to have a conversation. That's when I heard the noises of an indescribable house party going on in the backyard somewhere on High Street.
BookEnds
All shorts begin with a slight variation on the same 15-30 seconds. This, referred to the "Intro Sequence" or the "Outro Sequence" is part of a set of time structures known as book-ends.
Book-Ends are re-useable video files that are re-written each time in a slightly different way to contain important information about the production itself. In the ones that I design, here is how I like the information to flow.
Both Intro and Outro sequences contain only music, a series of footages, and text. It's advised to not use the same song for both the intro and the outro sequences.
Here is a look at each.
Intro Sequences
These should contain some of the same basic footage. These can be seasonal depending on the time of the year. Intro sequences should contain one or two varied sequences of clip from the plot in the upcoming narrative. There are several clips in particular Intro sequences which recur with a certain degree of consistency.
The names of all included actors should be mentioned in the Intro Sequence, combined with the on-screen presence of the actor. These cannot be done in FCP. These graphics need to be custom-produced in After-Effects with the correct corresponding template, which is another re-useable file which can be modified, re-exported to look similar but contain different information. While some sequences can be identical from one intro sequence to another, there should be enough variation so that one Vignette is distinguishable fro others based on the content of the intro sequence. It should become immediately evident which episode a person is watching from the first 15 seconds, particularly for people who have seen a bunch and are going back to find particular episodes but can't remember the name.
Time Breakdown of Intro Sequences
Outro Sequences
The Outro sequences contain some clips pertaining to the outcome of the particular scene. Sometimes Outro sequences will imply two separate outcomes. The outro sequence also contains the names of the Production Staff. The way to ensure that there is footage of following scenes in the Outro Sequences is to follow the rule of "3Delay Release" - meaning that exporting a video should be held upon the filming of the piece following the sequel, or upon filming the scenes for following segments. This can be diagrammed.
Book-Ends are re-useable video files that are re-written each time in a slightly different way to contain important information about the production itself. In the ones that I design, here is how I like the information to flow.
Both Intro and Outro sequences contain only music, a series of footages, and text. It's advised to not use the same song for both the intro and the outro sequences.
Here is a look at each.
Intro Sequences
These should contain some of the same basic footage. These can be seasonal depending on the time of the year. Intro sequences should contain one or two varied sequences of clip from the plot in the upcoming narrative. There are several clips in particular Intro sequences which recur with a certain degree of consistency.
The names of all included actors should be mentioned in the Intro Sequence, combined with the on-screen presence of the actor. These cannot be done in FCP. These graphics need to be custom-produced in After-Effects with the correct corresponding template, which is another re-useable file which can be modified, re-exported to look similar but contain different information. While some sequences can be identical from one intro sequence to another, there should be enough variation so that one Vignette is distinguishable fro others based on the content of the intro sequence. It should become immediately evident which episode a person is watching from the first 15 seconds, particularly for people who have seen a bunch and are going back to find particular episodes but can't remember the name.
Time Breakdown of Intro Sequences
Outro Sequences
The Outro sequences contain some clips pertaining to the outcome of the particular scene. Sometimes Outro sequences will imply two separate outcomes. The outro sequence also contains the names of the Production Staff. The way to ensure that there is footage of following scenes in the Outro Sequences is to follow the rule of "3Delay Release" - meaning that exporting a video should be held upon the filming of the piece following the sequel, or upon filming the scenes for following segments. This can be diagrammed.
 |
| Release A at point X, after B is filmed |
Intro and Concept
The whole concept behind this partiular blog is to take ideas for stories, specific to the area of New haven, anc dome up with actable plots that we can perform during the summer when things are quiet. These are from my imagination and I also think it would be impossible to re-enact them perfectly. Some of the stories are based in real life. Often I pick specific people from my life as the subject of these characters.
I'm also writing half asleep. I figuredout a way to do this. I write these just before bed, and I'm laying in bed as I type them with my eyes closed. As time progresses, I really start to visualize the things that I'm writing about. I wake up at 4 in the morning often and begin to develop these.
Many of these stories are take-away/throw-aways and hold no value or meaning. The Dreamworld of New Haven is full of espionage, class issues, and many of the other daily struggles people face in ther lives. I have to admit that some of these stories are real. I like writing about them because it's interesting to me. New Haven is a magical place where I've spent nearly my whole life. I like writing about it and I often also have dreams about New York.
Let it begin.
I'm also writing half asleep. I figuredout a way to do this. I write these just before bed, and I'm laying in bed as I type them with my eyes closed. As time progresses, I really start to visualize the things that I'm writing about. I wake up at 4 in the morning often and begin to develop these.
Many of these stories are take-away/throw-aways and hold no value or meaning. The Dreamworld of New Haven is full of espionage, class issues, and many of the other daily struggles people face in ther lives. I have to admit that some of these stories are real. I like writing about them because it's interesting to me. New Haven is a magical place where I've spent nearly my whole life. I like writing about it and I often also have dreams about New York.
Let it begin.
Welcome.
These are ideas for a show about New Haven. For access to post, email NhvOrg@Gmail.Com with subject; Ian (show) and you will get a response.