Kehoe, Coulter, Slan: Johnny & The Priest

This is our one minute film project. I had a ton of fun working with these fellows. We all put in the little time we had and made a funny joke come to life. If I could have done anything different I would have added voices to the ants he was killing and made some crazy sound effects with each splatted ant. I would have made the closing credit a lot more slower so people can get the joke. Over all both the Chris made this film hiliarious. They were gun-ho and we made it a success. I can't say I'm the best cinematographer but I think I did a great job shooting the film on my camera phone and editing it. Hope you enjoy class and Professor McCay. This film has been Rated R due to Violence and Language!

George of the Jungle, Chris Coulter

George of the Jungle uses many different methods of character movement. In the scene to the right George has just got done wrestling with a lion and has just started spinning him over his head, who he will finish spinning on one finger like a basketball in fast motion. Throughout the movie George swings from vines usually with only one hand, which is quite impossible in reality but makes for an interesting comic effect. There are also several times in the film in which fast motion is used, my favorite being when Thor gets into a fight with the narrator. There is also a well shot scene done in slow motion in which Brendan Fraser jogs around with horses while being watched by all the women at the engagement party. There are also many moments in the movie in which the action would freeze to draw attention to comic facial features. There is also a fair amount of stop-motion done with the animals in the movie so that they can exhibit human type actions. The most interesting shots, I felt, were the fight scenes. The combination of comedic effect and poetic motion was in a good balance during these scenes.

coulter, Lo

The dominate image in this scene is the Daemon Lo, with the secondary dominance on his cigarette, and deformed hand. In this scene the Daemon Lo is explaining how he intends to eat the youth as soon as he steps finger out of the protective circle he has drawn to summon a Daemon to find his lost love. The scene is set to show the dominate character of Lo and the lack of care he gives his youth master. He is lit sharply from both the left and right with a dimer high light to keep his lower body in the shadows. This lighting is used throughout the film to keep the focus from Lo's broken lower body which plays an important plot point as to his true identity. The camera is brought in to a personal range were you can see the blood and ichor dribbled down his chin. This is used to show his violent nature and overall evil demeanour, and in part to show the wonderful makeup job. This scene is repeated several time throughout the the conversation with Lo lighting up to show his general disdain and boredom with the purpose he has been summoned to do. The entire film is light as if it is a play and often present the flashback scenes in a manner with cast off stage with boom mikes and sound equipment, with Lo playing director in the visions he sets up to torture his new found master. While Lo is the dominate figure in most of the scenes he is rarely shown from any more than a personal camera proximity, so as not to highlight his crippled lower body. The obvious stage lighting helps make Lo a comical figure as well as intimidating.