Bottle Project

This is the link to the video for the bottle exercise:


Here is the link to my bottle project blog if the link doesn’t work try this one instead: Bottleexercise


Quick blog on permits.

This cold will be the death of me.

When location scouting I found myself to be very limited in area that I filming access to. I initially asked the cafe they I worked at and was kindly denied. After that I Went around my area and came across a park with an interesting positions bench. I did some research the night before on permits for filming in brisbane.

The following activities require a permit according to the Brisbane City Council website:

  • closing or use of public areas (for example, parks, malls, roadways, footpaths)
  • vehicle access to public areas (for example, parks, malls, roadways, footpaths)
  • using freestanding equipment (for example, lighting, generators, dolly tracks and tripods) that may be a danger to the public or restrict public use
  • leaving freestanding equipment unattended
  • leaving cables on the ground in a public area
  • using equipment such as catering and changing facilities
  • student films in public areas

No Fees- Brisbane City Council waives the film permit fee for student projects

  • proof of enrolment – students need to provide a letter from the lecturer confirming:
    • proof of enrolment in the relevant subject or field
    • the filming is part of the course assessment
  • public liability insurance – students must obtain a Certificate of Currency for Public Liability Insurance from their study institution. This needs to be for a minimum of $10 million noting Brisbane City Council as an interested party for all claims for personal injury and damage to property arising out of the filming.

For anyone who isn’t familiar with the term, “Guerrilla” shooting essentially means shooting your film in public with no permits and in most cases, no permission from any property owners for that matter. I have filmed videos for uni and outside of uni and have never applied for permits. While working at bigsound 2015 I was apart of a roaming camera crew, which meant that we did a lot of voxpop type interviews however no permit was lodged.  Filming without a permit depending on how and where you shoot, you may be subject to fines, fees and other legal complications. There was a great article I read that talks about Guerrilla filming that lists tips for shooting without permits.

The Final Blog

The final blog.

To be honest our feedback for our project The Time Machine has been what was expected. Mitch and myself looked through the feedback and gave a basic number average just to give somewhat of an indication to what people thought of our project was not much written feedback was given.

  1. What was overall reaction: 4
  2. Was the message clear: 4
  3. Did the doc evoke emotion: 3.5
  4. Was it visually pleasing: 4
  5. Was the subject matter interesting: 4
  6. Did the film hold your attention: 4
  7. Did you gain new insight: 3.5 – 4

The written feedback that we received as a little bit more insightful. We received 2 pieces of written feedback which had a strong negative dislike for the film stating that it was dull and boring. However we had a lot of one lined comments that were positive but still gave us some insight into their reaction. Its harder to write the word “Great” then it is to tick or circle a box so it was nice to see that some people did that.

For the one word feedback on the back most of the patrons said that the film had good pace and that it was entertaining.I dont think that our target demographic was prevalent in the screening so that being taken into account I think that most of the feedback was valid.There was members from our age group there but the specific people who I believe would enjoy our film were not. 

Faramasses feedback has taught me alot about my documentary. Especially the notion of it being subjective and the spacing and story. I agree with some of the audience feedback. For example the feedback on evoking an emotional response. After watching the film over and over and over again I distanced myself from what I was actually creating the film for and the emotion was lost. After meeting the characters and interviewing them and discovering their hardships and lives that have been transformed through the store I felt very strong about creating this story. But as time went on and changes and cuts were made, Personally I was just trying to create a story that works and the story that ended up working was not one that evoked huge emotion. I also agree with the new insight feedback that received a 3.5 – 4 because the audience didn’t gain much from watching the video. I feel like after hearing Faramarz Mairi and Alex feedback I agree with him in the sense that the story needs a lot of work, and that there wasn’t anything to be learned from watching our film. Referring back to the notion of adding more emotion to the film, and the idea of knowing what the history of the store and how the story changed the lives of its owners would be great. I think that having more research into the members of the time machine and just being around them more would have helped out alot.

One of the pieces of feedback stated that the film was that the bad footage was static and I totally agree with this. On the night the bands didn’t know that they were being filmed and when we asked for their permission we stated that we would just be in the back corner because we didn’t want to interfere. Now thinking back on  this I think that it would have been great to get close up with the camera and see more of the crowd and the environment thus adding more layers and visually entertain elements to the film.


In my major documentary currently titles The Time Machine The portrayal of our subjects could be viewed in multiple ways. Obviously this also is the case for most documentaries. I read an article recently talking about bowling for columbine and the portal of subjects.

Moore follows Heston down a sidewalk toward the man’s house. “Mr. Heston, one more thing.”  Heston turns around.  “This is who she is—or was.”  Moore holds up a photograph of the dead six-year-old.  This is her—please don’t leave!  (If he is using only one camera, he is cheating here—because there is a cut to him holding the picture rather than a pan.  And when we return to the pov shot, we can see Moore’s body on the right, but we can’t tell if he is holding up the photograph or not.) Heston walks away, and this time he does not turn around. “Mr. Heston. Please.  Take a look at her!”  Cut to Moore holding the picture.  “This is the girl.”   (We do get one swish pan from him holding the picture up and Heston far in the distance. This confirms for me that he cheated by giving the impression that Heston looked back at a short distance and saw him holding the photograph.  In the real time of the moment, he didn’t have time to arrange the photograph so that Heston saw it when he turned around—from twenty feet away.)

I have a great respect for Michael Moore as a film maker and swell as a human being. But I think this point in bowling for columbine is an excellent portrayal of how you can manipulate the viewers point of view of a person. relating back to my major documentary I had a voice when editing about how i would portray my characters. Initially we had the issues of weather or not the film should focus on one subject and have two supporting characters. But after some decision making we decided to feature the three store owners in equal parts.

Those Characters where Daniel Barton and Ben. Initially we shot an interview with Daniel who was a great interview subject. He was photogenic on camera and gave interesting and concise answers. While Ben and Bart where quite the opposite.When we started the interview they asked Mitch and myself if we could only ask them a few cameras and told us that they were nervous on camera.They gave answers which were concise but lacked any enthusiasm/energy.

When showing my first WIP screening to the class it was the first time that Mitch Alex and Miare had seen anything. An initially response I got was the Ben on of the Less energetic characters was looking depressed and He seemed emotionally unstable. This made me rethink the whole cut that I created. I didn’t want to portray Ben in a negative light, and I didn’t want people to pity him. At the same time I wanted to keep him in the film. So in the second screening I added more screen time with Ben and included roll shots of him smiling.



Directed and Produced by

Michael Beach Nichols Christopher K. Walker Joshua Simpson.

Screen shot 2015-07-11 at 1.13.51 PM

I find that this mini-doc is actually quite hard to explain and answer questions about. Its basically a very interesting story about an interesting character. Bill’s a fifty-two years old delivery boy  living in Brooklyn with a mountain of a beard. Over the course of several shifts, DELIVERY unveils an intriguing man rushing food to your door while it’s still hot and fresh.

The film after close examination has a structure, the film begins with a shot  of Bill the subject riding through the streets of Brooklyn with some ADR Expressing his experience with fights. The film then goes onto the start of the day for bill. The viewers are introduced to where the store “Best Pizza” in which Bill delivers pizzas from the film then goes onto discuss bills experiences in delivering pizza and a lot of the hardships he has faced in his life. The viewers then find out that bill is currently homeless, and are exposed to his efforts to contact his friend for a place to sleep.

Screen shot 2015-07-11 at 1.13.22 PM

This scene and the subtext is the reason why I love this film. There is two sides in the audio, one of Bill expressing his homelessness and the other of people laughing and talking in the restaurant. Bill is placed standing at the bar with bright neon lights and a real sense of warmth around him. Yet the subject that his discusses is very depressing and you can see on Bill’s face how confused and distressed he is. Bill then walks outside and expresses how he is happy with his life. The viewers gain a sense that bill enjoys the outside world of brooklyn streets. Every scene in which bill is inside he seems unhappy but outside bill is working and telling old stories so the filmmakers have inspired this through their use of shots creating a subtext.

The film then concludes with bill summing up that he loves his job and riding around in the bright daylight on his bike. The viewers are shown a final shot from a drone’s perspective of bill riding down the street and then a fade to a title ”ride in peace bill” in which bill says “The day I can no longer ride a bike better be the day i’m fucking dead”

Screen shot 2015-07-11 at 1.14.11 PM

Renov proposes a division based on the specific process of composition, function and effect, based on four fundamental trends or aesthetic and rhetorical functions, which he says are modes of desire, which have been the mainstay of the discourse on the documentary for decades.To record, reveal or preserve. This mimetic function is common to all film, and very closely associated with the documentary genre. This category could include anthropological or ethnographic documentaries and even personal diaries.To place this film structure recording would suit best. The film is a sort of diary of bills in the sense that he expresses his life, up and downs and his enjoyment.

Montage Of Heck


“Besides inspiring the title of the film, Morgen says that the “Montage of Heck” tape provided him with “a blueprint on how to make the movie,” which manifests itself in the dynamic, remix-inspired approach to pairing the original archival audio with intricately designed animated sequences” (Gupta, 2015). “Morgans has utilised two different styles of animation at work: traditional single cell and motion graphics, with the bulk of the film’s animation falling into the latter category” (Gupta, 2015).

The motion graphics sequence was built from still photographs that look straight down on pages from Cobain’s journals. The resulting full-frame photograph manipulate the angle, grain, light and texture so that the image felt just as analogue as the accompanying audio which gains the audience’s attention.

My favourite scene in the entire film was the single cell animation scene. The scene existed initially as an audio recording of which Cobain relates his first sexual experience. Director Brett Morgen Said: “I was so nervous about approaching that story, and for the longest time, it existed as only audio, and in a way, I kept thinking maybe this could be it: That we could all sit in a movie theatre and just listen to his voice. I just felt any visuals are going to torpedo this thing. And I also was thinking, how do you represent Kurt in an animation?” Moving forward the end product of this sequence was amazing, the style of the oil painting was one in which I had never seen before. The texture and colours were so rich and dark making the depicted world of which Cobain grew up in gloomy depressing and most of all very engaging. The visuals also don’t over weigh the audio only aid to it greatly thus breaking down the scene it follows aspects of both poetic and expository documentary film making.

The Motion Graphics in the documentary were what I think an accurate representation of what his creative process was like. The motion graphics follows of  designs by Nadelman who  told Indiewire that he worked on the film in bits and pieces. “I didn’t have a picture of the film in my head like [Brett] did,” he said, “so [Brett] would just give me some key words to work with, like what Kurt was feeling at the time or what he was going for in the narrative and then he would sort of let me loose.” I think this process is the same in which Cobain would write songs. Just starting off by scribbling something down and expanding of it. So in a way this style does give an authentic representation of how Cobain would creative things.

The film has been received quite well by critics and fans, although the main source of negativity surrounding the documentary has come from friends of Cobain. Buzz Osborne Founding Member of the punk band Melvins and long time friend of Cobain has made outcries against the film stating that: “90 percent of the Cobain documentary Montage of Heck is bulls–t.” coming full circle Osborne states  “I know the whole ‘I tried to fuck a fat retard’ story is complete bullshit. especially if, as he suggests, the girl’s father freaked out about it at the high school,” wrote Osborne, adding, “In that small-town shit-hole, exciting news of that nature would have been common knowledge before the sun set. It never happened.”


So even if the story isn’t true is it okay to portray it to be if the subject is dead. Is the film a documentary still or a mockumentary. Did Morgan know of this lie but chose to portray it anyway. Although I enjoyed the sequence very much it actually portrays Cobain in a very negative light with him reminiscing of his questionabledark past. Osborne brings up a great truth referring to people responding to his claims of the documentary being wrong. Osborne says. “If they want to argue and say that I’m wrong, then okay, I’ll play their game. Would they feel better if Kurt Cobain did ‘f— a fat retard.’ Do they feel better now? Do they feel better if he actually was suicidal? That makes you feel better? None of that’s true. I don’t think that’s a good legacy for him to have out there…I know it’s not true. It’s that simple.”

At the end of the day, it’s just One persons representation of another’s life, however this can have a major impact on other people’s perceptions. as soon as you shine a light on a subject that is already controversial the lines between the truth become blurred.


Brodsky, R. (2015). Buzz Osborne Expands on ‘Kurt Cobain: Montage of Heck’ Criticism | SPINSpin. Retrieved 15 June 2015, from

Fienberg, D. (2015). Review: ‘Kurt Cobain: Montage of Heck’ definitively doesn’t define the Nirvana iconHitFix. Retrieved 15 June 2015, from

Gupta, S. (2015). From Audio to Animation: How ‘Kurt Cobain: Montage of Heck’ Captures Cobain in All His ContradictionsIndiewire. Retrieved 15 June 2015, from

King, D. (2015). First Look: ‘Montage of Heck,’ Part-Animated Kurt Cobain DocCartoon Brew. Retrieved 15 June 2015, from

Levy, P. (2015). Buzz Osborne says Kurt Cobain documentary Montage of Heck is “90% bullshit”.Consequence of Sound. Retrieved 15 June 2015, from

Tucker, K. (2015). ‘Kurt Cobain: Montage of Heck’: Nirvana for Retrieved 15 June 2015, from

Zadrozny, A. (2015). Buzz Osborne: I Don’t Get How You Could Defend Courtney LoveLoudwire. Retrieved 15 June 2015, from


On Thursday I had my interview with my friend and artist Guy Lobwein. I picked up all the gear on Wednesday night with the help of Claudia . Thursday morning I met up with Mitch who was helping me with sound and lighting for the interview. The interview went really well we set up quickly with little to no complications to begin with. However when we had got to the interview it started raining thus our audio wasn’t great. We didn’t really have anything to counter the rain and we were pressed for time so we went ahead anyway. Here are a few shots from the interview.

DSC_0013 GuyGuy 2