The above link goes to an example of my stringer video editing work for The Norman Transcript, capturing the events of the Norman Music Festival in May 2018.
Examples of voiceover work, reading off community event announcements as part of my practicum work with KGOU radio. These display my ability to act for recording for radio. This post will likely be added to and or revised as I reexamine my current recordings and record more.
This is my final project for my senior year of college in the University of Oklahoma’s Creative Media Production track. This is a project of many firsts for me, both technically and emotionally.
On the technical side, this was the first time I asked for extras on a shoot, forcing me to learn proper conduct when working with other people on a shoot. This was also where I took my first shot at production audio recording, using a Tascam and wireless LAV mics, even ordering my own roll of gaff tape for that sole purpose. This utilizes my combined knowledge of video shooting and editing principles (Electronic Field Production ), audio recording and editing (Audio Production), and sequence planning on script and storyboard (Electronic Media Writing and Electronic Field Production) up to that point, while simultaneously expanding to new areas I had heard about in class, but hadn’t put into practice, such as production audio recording and hiring outside help. This was a valuable learning experience, and I’d like to think it stands as one of my milestones of technical application and a sign of my growth over the years in the CMP track.
Emotionally, this comes at the end of the semester, and at the end of my college track. Throughout my work on this project, at the Gaylord College of Journalism, and at OU in general, I had been wracked with various anxiety issues, such as questioning my own abilities and fretting before things even begin. This project also stands to me as part of my adapting to work under stress, impending deadlines, and uncertain futures, which I consider a valuable skill for anyone. It represents it in the context of final projects and production, sure, but I wanted to let it express my fears and hopes in it subject matter as well, serving as a form of release for myself, and hopefully others as well. It signifies to me, as cheesy as it is, that there is light at the end of a dark tunnel, and no matter how hard you trip and fall, you’ll always have people to support you, and you’ll never stop growing and learning, coming at every new challenge the stronger for it.
A short storybook project for Mythology & Folklore class in my senior year of college. It follows a dejected and emotionally-broken interpretation of the Japanese goddess Amaterasu and her observations and impressions of various tales from different mythologies through a mystical mirror.
A term paper done for my Gaming History class in my senior year of college. This paper considers gameplay mechanics, development process, and interpretations of sexuality of the video game Bayonetta and its titular heroine to pose the argument of empowerment through sexuality.
One of two graphic novel critiques for Understanding Graphic Novels during the winter intersession of my senior year. This examines graphic novel form and content, as well as theories thereof, to understand how Bryan Lee O’Malley’s Scott Pilgrim graphic novel series engages the reader in what ways and for what purpose.
This is a website of my own creation done for Interactive Multimedia class in college. It contains some video work I’ve done, some of my script work, a version of my resume, and a little blurb about myself. I sadly have not had the time to update it, but I have the original files and a textbook on HTML and CSS for when I come back to update it.
As a convenience, I may stick with WordPress for my online needs, since managing blog posts is somewhat easier than maintaining several lines of code. I still possess the knowledge to code, should I require it later on in my professional endeavors.
My first Resume. Initially created during my Interactive Multimedia college course, it has been redone for professional use.
A video project for my Capstone class. The objective was to adapt a chapter from Douglas Rushkoff’s “Program or Be Programmed” into a short film. This short is over the first chapter: “Time.”
My first ever reel, made primarily for my Capstone class. An example of my skill in using filming equipment, post-production software, and aesthetic principles for a variety of purposes.
I could not find much regarding economic decisions on Zootopia, sans a desire in pre-production idea pitching that revolved around wanting to produce a film similar to Disney’s version of Robin Hood, which also used anthropomorphic animals as characters and has been recorded as Disney’s most financially successful film on its first release. A good reason for generating revenue exists there.
What fascinated me however, was a bevy of pre-production reasons that related to rewriting and adding aspects to the story that weren’t there before.
One is the switch of the main character; initially, the sarcastic and cynical Nick Wilde was to be the protagonist, with the optimistic and hopeful Judy Hopps as the secondary lead. The roles were flipped so that Judy became the primary character, due to her background as a person making more sense as a lens to tell a story about bias through: a person who believes everyone can get along and be whatever, rather than Nick’s jaded view on society and its norms.
The protagonist switch from Nick to Judy also caused characters conceived in early stages of writing to be cut, as they wouldn’t fit in the world tailored to Judy’s experiences, such as a pair of mean-spirited hamsters meant to antagonize Nick and the original vision of the titular city’s mayor.
As for the plot, an interview with co-directors Byron Howard and Rich Moore revealed that the desire to tell a story about bias was in the works even back when production started in 2011, and that the conflicts and writing in the film was influenced to contain more subtlety in its messages as news coverage of the subject matter became more prevalent over the years.
Research into police protocol also became part of the research for the film, specifically women in the police force, especially in regards to Judy’s conflict of proving she is capable of being a police officer in the big city. Eventually that came down to finding the common thread of desires among people as a whole, and not solely police officers, so that Judy would be a more empathetic character. There was also a desire to not portray the police department as mean-spirited, evident in Chief Bogo who, despite his oppositions with Judy, merely wants what is best for the police force.
The initial ideas for the story spawned from many different pitches, the ones accepted being animals living in a contemporary society designed by animals for animals (which also stems from Howard’s desire to create a different kind of anthropomorphic animal film) and a 1960s theme. This led to developing the film as a spy film, where the most appealing act was revealed to be the animal city, thus the ‘60s theme was dropped, thus turning the plot into a contemporary police procedural.
Animal research played a part in the content of the film as well, research going into the statures, walk cycles, and lighting color reactions to the fur and skin of different animals. This also is implied to have played a role in the story, specifically the distinction between prey and predator species, as a suggestion made from Walt Disney Studios chairman Alan F. Horn results in Nick making a betrayed comment to Judy when discovering she still fears him due to his status as a predator.
The documentary for the episode of Homicide: Life on the Street, The Subway, provides some decent insight into not only how this specific episode’s final cut came to be, but also some insight into the processes a show like this must go through in order to reach an audience.
A poor ratings streak and the competition from Nash Bridges, from what I recall were also in competition in terms of timeslots, coupled with hoops the team often had to jump through to get an idea greenlighted imply a kind of standard that networks like to adhere to so as the draw a sizable, yet also constrain some creativity with a very “become popular or get cancelled” kind of environment, despite noble ambitions from Yoshimura to keep true to a vision.
Because of this, writing can often be very stressing and lengthy, even if the feedback is valuable. It’s evident scripts don’t get approved on the first draft, evident by the amount of feedback annotations from the director, and a firm relationship with talent can make or break a performance, such as with Pembleton’s actor trusting Yoshimura to not write a trite screenplay.
Under the writing team, there was a desire to pose a de-mythification of consumers’ perceptions of detectives from television; a turn away from the emotional responses and intellectual positing of detective tropes, going instead for black humor to provide a closer picture to real detective work and the complexities that make up human life. The de-mythification approach also seems to reveal a criticism of emotional attachment to victims of murder cases, with Pembleton’s getting too attached to the victim under the train, leading to an emotional scarring evident by repeating the victim’s dying words before driving off.
The concern with getting the subway stunt just right illustrates vividly how production is a co-operative effort. From inside the studio with the art director’s feedback on set design for shooting in the subway and Yoshimura’s talk with the executive to get the extras he needs for the stunts, to influences from outside the studio with getting the transit department’s permission to alter the station and be allowed to shoot in the subway itself.
The scope of the locations is limited, with most action relegated to the subway and tertiary plot of searching for the victim’s girlfriend in the surrounding area. Add to this a limit of seven production days and a twelve hour shoot to get the stunt just right, and we have a perfect illustration of how much of a time crunch television production can be, and that you must make decisions on locations that will minimize time wasted.
Pre-production decisions also potentially influence the script, both in the process and outside of it. For instance, the confusion over the quantity and accuracy of witness accounts in the subway wouldn’t make much sense unless you can get the extras to illustrate the point. The concept for the plot itself was inspired by an episode of Taxicab Confessions Yoshimura watched, illustrating that inspiration can even strike from out of left field.