Diogo
Cervantes

This project was a tremendous learning experience for me. Not only did I get hands-on practice with camera work, especially using manual settings for the first time, but I also honed my editing skills and learned how to work with microphones. More than that, connecting with these two artists and seeing how their relationship influences their craft left a lasting impression on me. This school project helped me build confidence in taking initiative, and it's something I've grown to deeply appreciate.

As we filmed, we discovered so much to capture, from the stunning architecture to the way each person experienced the day differently. We saw people admiring the view, sharing moments of love, dancing, playing, and simply living. We focused on capturing the beauty that unfolded naturally in front of us.

This project helped me find beauty in my surroundings and taught me valuable lessons about framing and working with camera lenses. It was a turning point in how I see and appreciate the world around me.

This project was completed within a single week, and I drew inspiration from Troy Browne's mixed media work. I sourced images from the internet, chopped them up, and animated them to tell the story of a skater grinding on the ESAD logo.

This process pushed me to think creatively within tight constraints, and I enjoyed exploring the potential of mixed media in animation.

We wanted our title sequence to subtly tell the story of the characters through objects that were important to them in the film, but in a way that wouldn't spoil anything for the viewer. Our goal was to create something visually captivating, with each object holding hidden meaning that would only become clear upon rewatching the movie. Even the choice of typography was carefully considered. We chose it not only for its familiarity but also because of its connection to newspapers, which played a significant role in the story. From the protagonist's early press as a convicted murderer to the final newspaper exposé revealing the prison's corruption, the font echoed the way the media framed the characters' lives.

To bring our vision to life, we filmed the objects against a green screen. Although we initially wanted to film them underwater, we didn't have access to high-frame-rate cameras to achieve the slow-motion effect we envisioned. Instead, we attached the objects to strings, recorded their rotation, and then used Adobe After Effects to create the appearance of them spinning in water. We also utilized AI tools to artificially increase the frame rate, allowing us to achieve a smooth slow-motion effect without any choppiness. Every movement was carefully manipulated to fit our concept.

This project taught me a lot about the importance of conceptualizing a project from start to finish and seeing it as a complete, cohesive piece. It also helped me develop my skills in green screen recording and editing, pushing my creativity and problem-solving abilities.