Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Wednesday, July 13, 2011

Forks Over Knives at the Peoria Theater


I attended a showing of Forks Over Knives at the Peoria Theater, located within the Landmark Recreation building just off of University. The Peoria Theater is host to cult films, documentaries, independent films, and even the occasional concert. The audience at five-fifteen in the afternoon on a Sunday was by no means large, let alone rowdy or overly social.

While Peoria is not known for its receptiveness to plant-based diets, there were several people at the theater ready to “fork over” seven bucks to reinforce their veggie-friendly mindsets (me included). The showing of Forks Over Knives is one of many trendy films and events informing the public about the industrialization of our food sources, diets, Western medicine, and the overall embarrassing health statistics in our society. Some other recent mentionable films are Food, Inc, Go Further and Farm to Fridge. While the Peoria Theater does not have the most high tech equipment or the biggest screen in town, their mission is to communicate the message of the film they’re showing, not to wow audiences with giant 3-D stadium seating, IMAX spectacular, or THX approved subwoofers. Forks Over Knives, I believe, has a different demographic from most of the hip vegetarian documentaries currently available.

Forks Over Knives has a different message than most of the recent documentaries pertaining to meat consumption, mistreatment of livestock, the definition of “Grade A” meat, and CAFOs (Confined Animal Feeding Operations). Forks Over Knives addresses the overall health of Americans, their diets, and the pharmaceutical companies directly. Most of the experts and patients involved are middle-aged or older. Instead of using abused animals to tug on your heart strings, they make it more humanistic by discussing obesity, cancer, heart disease and diabetes as examples of the downfalls of animal-based diets. Most documentaries have a bevy of graphics, interviews, and testimonials; this film was no different.

The graphics used in the film were satisfactory, but not revolutionary. The promotional advertising used to spread the word about the film was miles above anything used within the film. The 3D graphics used to portray statistics were clear, consistent, and easily understood. The lower-third graphics used during the interviews and datasets worked, but they weren’t very flashy or as professional as you would see on networks such as CNN or FOX News.

The interview progression throughout the film was well thought out and kept the movie flowing at a decent pace. The framing of interviewees was never fully centered, thus using the rule of thirds effectively. The interviews consisted of quick snippets and were never monotonous. However, there were no dramatic B-rolls or flashy zoom techniques which may have emphasized certain aspects. Like most informational documentaries, this film used interviews of experts to push opinions. Interviews with experts in the appropriate fields (PHDs, MDs, and political figureheads) as well as patient testimonials were used to provide the information and results in layman’s terms.

Unlike most infomercials, documentaries give you an in-depth approach to a consumer’s start and end point; Forks Over Knives was no different. The film used several examples of patients facing dire consequences, which were reversed with extreme diet changes. The beginning of the film showed the first patient, who drove to his destination while drinking two Red Bulls and nearly two Coca-Colas. He met with an expert in nutritional health, switched to an all plant-based diet, and within several weeks began showing vast improvement. The film never touched on whether or not the patient strayed from his diet, but the end result played straight into the film’s message. All of the patients portrayed in the film had similar positive results. However, patients with detrimental reactions to the diet (if any) were never addressed. This film may not have had the highest budget or flashiest graphics but I felt as though there were no loose ends once the film had ended.

In my opinion, Forks Over Knives is most likely the bearer of bad news to the human race. As we all eventually suffer from some kind of ailment, and we see our loved ones pass away from preventable diseases, we must question what we have been taught for generations or suffer the consequences. As they said in the film, we must learn to "eat to live, not live to eat."

Friday, November 19, 2010

Production Notes - The Aposematics - Hands On - Stop Motion - A Blue Civilian Production



The latest release from The Aposematics and Blue Civilian Productions is the 2:40 stop motion video set to the tune of "Hands On". Weighing in at about 1,200 still shots after editing, I ended up cutting out about 300 photos. The majority of the video was shot sequentially, making most of the editing easier.

After experimenting with a little bit of stop motion I decided to shoot a full music video. We shot the stills exclusively on Lori's Nikon D40 with an attached SB-400 Speedlight. Unfortunately, continuous shooting ate up the flash's batteries quickly and caused darker frames to litter the video. External static umbrella lighting was used when necessary. A laminated sticker and dry erase marker were used for the doll's face and Hershey's dark chocolate syrup was used to simulate what little blood is present in the film. The stop motion action shots of Ken and Dan playing bass and drums were shot in the Morton building we use as a practice space (partially). The higher angles were achieved by attaching the Nikon to a tripod and triggering the shutter with a remote. Lori cleverly thought up the paper hearts and confetti for her kill scene finale. Some thought went into picking colors that would show up appropriately in black and white. Ken, being the “man behind the curtain” was potentially the hardest message to get across, but we easily conveyed the idea by transposing the last bit of paper hearts over the blank monitor, and then again by cutting back to the doll with a similar facial expression.

All of the images were resized, cropped, auto-adjusted, and converted to grayscale with Adobe Photoshop batching. The images were then imported into Adobe Premiere Pro at 2 frames per still at 24fps. My ramshackle attempt at stop motion ran too quickly and was a little confusing at 2 frames per still. I eventually extended the stills to 3 frames per second; this effectively slowed down the action but made the video a bit choppy. The graphics were then added at the final stage and everything was nested and exported out at 720p.

Overall, this shoot was an incredible learning experience and required more precise edits than the other Aposematics videos. I really loved putting this video together, but it will take much more than just a whim for me to attempt another stop motion film anytime soon. I only have the utmost respect for the real kings and queens of stop motion. I have no doubt their patience is greater than mine.