Quick note: I love learning new stuff.

Learning about movies today. Two days ago, I recorded a song and spent some days learning about better mixes. Last week, I checked out some stuff about drawing. It would be great if I could stay focused on just one of my passions.

Honestly – if I could have the sum of my various parts of arts, into just one of them — filmmaking, drawing, animating, writing, singing, recording, producing, jesus – any of these – I think I might have been amazing at that one thing. Instead, I’m a delighted student of all of them. (See how I made no comment regarding ability or success? I am also learning humility.)

Here’s a brilliant quote I picked from Roger Ebert’s site, talking about movie shots:

(source: http://www.rogerebert.com/rogers-journal/how-to-read-a-movie)

“In simplistic terms: Right is more positive, left more negative. Movement to the right seems more favorable; to the left, less so. The future seems to live on the right, the past on the left. The top is dominant over the bottom. The foreground is stronger than the background. Symmetrical compositions seem at rest. Diagonals in a composition seem to “move” in the direction of the sharpest angle they form, even though of course they may not move at all. Therefore, a composition could lead us into a background that becomes dominant over a foreground. Tilt shots of course put everything on a diagonal, implying the world is out of balance. I have the impression that more tilts are down to the right than to the left, perhaps suggesting the characters are sliding perilously into their futures. Left tilts to me suggest helplessness, sadness, resignation. Few tilts feel positive. Movement is dominant over things that are still. A POV above a character’s eyeline reduces him; below the eyeline, enhances him. Extreme high angle shots make characters into pawns; low angles make them into gods. Brighter areas tend to be dominant over darker areas, but far from always: Within the context, you can seek the “dominant contrast,” which is the area we are drawn toward. Sometimes it will be darker, further back, lower, and so on. It can be as effective to go against intrinsic weightings as to follow them.”