Vitus

Excuse the Pun, But I'm Spellbound

2019-05-13T22:57:00.001-07:00

I (happily) grew up watching Melissa Joan Hart as Sabrina the Teenage Witch in the 1996-2003 television series. Admittedly, I even named my own cat after the famous feline sidekick- Salem- so to call myself a fan would be an understatement.

When I heard that Netflix was remaking the series I expected to see a sitcom-style comedy that would bank on reminiscent young women like myself. I expected them to cut corners and take advantage of every opportunity to apply a bad laugh track. I still fully planned on watching every episode though. Like I said- I like Sabrina.

The first season of The Chilling Adventures of Sabrina premiered on Netflix in late October of 2018, and I was overjoyed to be wrong about this series.

Terrifying, addictive, stylish, promiscuous, haunting, creepy, perplexing, and smart- The Chilling Adventures of Sabrina is so good it satisfies every bone in my body.

Kiernan Shipka does the most brilliant job at portraying her own Sabrina, while still maintaining the original charm and sass that we got from Melissa Joan Hart's character back in the 90's. I recognize small quirks and mannerisms that remind me heavily of the old TV series and I'm grateful to Shipka for keeping up with the small details.

Image Credit

Real Estate Photography- April 2019

2019-05-13T22:04:00.001-07:00

More Crochet Crafted Cacti

2019-04-15T00:40:00.000-07:00

Now Selling On Etsy

2019-04-01T19:53:00.000-07:00

Trying to Make Personal Strides- So I Started with Fake Plants

My Etsy Shop: How & Why & Where In The World Is Carmen San Diego (not answered)

Maybe it was the 900th person that suggested I start an Etsy shop that really got through to me...or the fact that I was making more fake plants than I knew what to do with...but either way, I finally took the plunge.
I was always terrified of selling my work because it meant involving money, which STRESSED ME OUT. I find monetary transactions so awkward and uncomfortable. Even something as simple as getting paid for babysitting always made me feel like I was scamming someone.
I need to get over that though because I can just feel myself getting shortchanged (no pun intended) in certain situations, and it's just a necessary life skill that everyone should have a handle on. Accepting money should be easy! (and fun). Hopefully, accepting money in exchange for something I'm truly proud of and excited to share will help ease this discomfort.

I dove headfirst into product photography, which was more tedious than expected. Of course, most things are more difficult than expected...
I did enjoy the end result though. It was so satisfying to get a good, professional looking picture of the piece. It's nice to be able to capture an accurate (and attractive) photograph of your work.

Here are some photographs I took of my creations, which you'll find on my Etsy shop, linked HERE

Direct Link to my Etsy Shop, Now Open:

https://www.etsy.com/shop/SamanthaLeeJean

I was featured on the Chasing Joy podcast

2019-03-26T19:53:00.002-07:00

I was honored to be featured on the 100th episode of the Chasing Joy podcast and speak with the creator, Georgie Morley. She just so happens to be the brains behind my favorite blog, Init4thelongrun, so this was such an exciting and rewarding experience for me.
I am one of four girls featured on the episode- and my interview can be found towards the end at the 52:06 timecode.
You can listen to the episode by using the Spotify web player shown below or Listen on iTunes.

Winnie

2019-03-22T13:12:00.000-07:00

Death Before Decaf

2019-03-05T09:32:00.004-08:00

Nantucket- February Weekend 2019

2019-02-24T20:02:00.003-08:00

Updated (stylized) Reel

2019-02-20T23:14:00.000-08:00

Click the link below to check out my updated reel, as a video editor & motion graphics artist. Maybe it's a work in progress, and maybe it's complete... I don't think I've decided yet.

Isn't that the most frustrating part of being a creator? Knowing when it's time to drop the pen, and just 'let it be.'

Latest Reel

Catnip

2019-02-19T00:05:00.001-08:00

Cozy

2019-02-11T21:32:00.002-08:00

Eclectic Home Decor

2019-02-03T01:39:00.006-08:00

I enjoy the "random" placement of the paintings over the art desk, in a collage format. The fish, moon, and tree watercolor paintings form a visual unity, which is disrupted by the circular mountain piece- set on a black backdrop. All four of these pieces are the same exact frame, and frame size, so they still establish a unified look somehow. The large mountain landscape painting is intentionally unframed because I didn't want the picture to take up any more space than it already did, in comparison to the others. I believe the environmental, nature theme remains consistent in this wall collage but I do enjoy the unpredictable nature of this series. Accompanied by a jar of paintbrushes, a jewelry box, and old-fashion parlor lamp, this cozy mantel scene is displayed above my art desk.

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This refurbished shelving unit is actually my favorite part of the room. Previously used as an overstocked bookshelf, this wall was a heavy visual. The shelves bowed downwards at the weight of the books stacked on top and the previous maroon walls added somber tones. I immediately felt satisfied with the way this shelving unit popped once the walls were repainted this bright "Spanish olive" green. The vertical brackets were certainly a dated choice but I wasn't in the mindset to remove this wall element. While it wouldn't have been a particularly big job at all, I felt more inclined to make the best of the twin track shelving unit.

After a deep cleaning of the tracks and detachable shelving boards I readjustment the height and alignment of the shelves to match my intentions for the unit. In this case, that meant spacing the shelves to a slightly larger divide. One of my first decisions was the cold framed picture of the black cat, which I felt inclined to hang between the shelves. This decision was what prompted the shelf spacing, as I felt it was important to accommodate this photo. A series of my favorite biographies and novels topped the shelves, along with sentimental trinkets that gave me the joy to see every day. This included my handbell, dried roses, old barbie doll, and atomizers. My favorite pieces from this arrangement are the rustic dream catcher, the golden dinosaur, and the pink old-fashion alarm clock. The alarm clock was a $3 purchase from a local Goodwill and I have never once made an attempt to get it working. I find it very unique, quirky, and cute- and something commonly overlooked until it's placed in the right environment where it can become a statement piece. The rustic dream catcher was handmade for me by my longtime significant other, and it is constructed out of real antlers, real feathers, and fishing line. The golden dinosaur was also a Goodwill find and I believe it was a planter in a past life. The dinosaur is almost entirely hollow meaning the dirt would fill the tail and feet of the creature if you tried to put a plant inside- so I personally think it would make an awful planter, but a really incredible statement piece for my shelf. I enjoy the intentional manner of this corner, and the way it just SCREAMS to be explained. Without understanding, one may start to wonder why Dr. Phil self-help books occupy the same space as broken alarm clocks and one armed Barbie dolls. Although, I can't guarantee my explanation will offer much sollace. Possibly just more questions.

Nintendo Switch Vector Art

2019-02-03T01:04:00.001-08:00

I constructed this Nintendo Switch vector image on Adobe Photoshop as part of a much larger animation, with the intention to mask the screen portion and overlay video game footage. This render was both visually and functionally successful in my final animation, which can be viewed HERE

Motion Graphics Teaser

2019-01-28T23:57:00.003-08:00

Take a quick look at some gifs and short animations I've created over the past year (2018)

If you'd like to see more, check out my channel on GIPHY by clicking HERE

Latest Fascinations

2019-01-11T02:21:00.001-08:00

I wanted to share this collection of items that recently caught my attention, as a way of updating you all on my current state of mind. This is everything that has been inspiring me lately, whether it be completed works of art or just a single concept. Here is a travel log to my wandering mind. Enjoy.

Pusheen.

Always Pusheen.

I'm way behind on the trend but I recently discovered my passion for the little fat cartoon cat and all the relevant merchandise.

I enjoy the simplicity of the symbolic Pusheen cat, and I respect all the ways this icon has established a successful brand and continues to put out fresh content.

Brush Lettering.

I'm following along with a workbook that teaches you the necessary methods and terminology, but I just have an overall appreciation for this artistic font form. Now that Etsy is slowing, but surely, taking over the world in all its hand-painted glory, I figured I was bound to fall into brush lettering at some point. I'm at a point where I feel like brush lettering might just be a lazy version of calligraphy but the jury is still out.

Everything Amy Sedaris,

....but especially this video

(by New York Magazine.)

She is an eclectic genius and my new style icon. Truly left wondering where she has been my whole life.

Creative Bulletin Boards & Cork Board Art

For no other reason than I want one of my own

Source

Ellen Degeneres' standup comedy special on Netflix- Relateable

Watch the trailer

It made me laugh out loud many times, which is something I rarely find myself doing.

Support Pete

2018-12-20T19:29:00.002-08:00

The Forgotten Profession; Uncredited Film Editors and Animators in Hollywood

2018-12-18T02:19:00.002-08:00

With every award-winning motion picture, there are at least a thousand people who feel responsible. Every movie can be broken down to its individual parts, for which someone has taken claim. Unfortunately, movies are not always credited based on merit, but by prestige. Instead of recognizing individuals according to the impact they had on the project, society credits the most recognizable roles. By habitually praising certain roles in Hollywood, film editors are negatively impacted. The title 'film editor' holds little weight despite the editor's highly influential and indispensable role on the project. Wayne Baker and Robert Faulkner of the American Journal of Sociology published a written work titled “Role as a Resource in the Hollywood Film Industry” which frames the importance of one’s title in this collaborative industry.

“Like all culture productions, film projects are arenas in which people with various business and artistic interests compete and negotiate to shape the decisions and premises upon which culture production is collectively organized. Roles provide the institutional and cultural means to compete and negotiate. Roles are a resource because they grant legitimacy, stake claims on various resources, and delimit jurisdictions” (Baker & Faulkner 1991).

To water down one’s title strips them of their ability to “stake a claim” and potentially further their career through notoriety. Film editors are methodically being dismissed throughout the industry, regardless of their influence on the product. Even as film animation, editing, and graphics have become more sophisticated, film editors are still not provided the necessary credit for their role.

I challenge you to think of your favorite action film and consider what makes it so intriguing to you. The great elements are probably not the underlying romantic subplot or the inspiring personal transformation of the main character. What makes action films so great are the explosions, the car chases, the unbelievable stunts, and the mystifying worlds within them. These components are created skilled professionals that spent months, if not years, perfecting the realities we become so obsessed with. Unfortunately, these professionals are not recognized in the film industry and key contributors to the process. Professional film editors are significantly undermined in the film industry, despite their enormous presence and undeniable necessity in the creation of any film. Since there are six major motion picture studios, all film editors are seeking work from these main production companies. This narrow field instills the fear of being blacklisted, or written off, by the major studios. This is also, undoubtedly, the reason studios can get away with the mistreatment of their post-production team.

The editing professional is considerably misunderstood, as many people are unaware of the kind of expertise editors hold, such as how visual effects are indeed manufactured by editors. These professionals receive little to no formal recognition at film awards such as The Academy Awards. Wildly popular films such as “The Chronicles of Narnia”, “Transformers”, and “Pirates of the Caribbean” are identified and praised by their leading actors, and not the professionals that created those worlds. Changes need to be made within the industry, as well as academic institutions, in order to sufficiently support, educate, advocate, and encourage the practice of editing.

In the summer of 2016 a highly publicized and profitable comedy film “Sausage Party” was distributed by Sony Pictures. The animated film was constructed entirely through visual effects, at a company called Nitrogen Studios. Since the release of the film, editors of the flick have come forward to admit that they were not fully paid, or properly credited for their work.

As outlined in a Variety article by James Rainey and Ben Lang, the industry has been constructed in a manner that allows for the abuse of power positions.

“They said they felt intimidated into remaining on the job, without complaint, for fear they would not be hired for future projects at Nitrogen and potentially elsewhere in the close-knit animation industry.” (Rainey and Lang).

The industry leaves no room for protest or speaking out on the unjust happenings within certain companies. The “close-knit” state of the industry allows for an abuse of power from film executives. According to the animation professionals, they have still not been compensated for overtime put into the production of the film, of which there is a substantial amount. Also, only half of the animators were credited for their work on the film. This discourtesy and lack of professional respect are unfortunately not uncommon, as similar complaints have been made in the past. Even in films such as “Sausage Party” where the contribution of visual effects artists is so obvious and undeniable, there is still insufficient acknowledgment and appreciation for editors. If this kind of disregard continues then we will undoubtedly see a decline in aspiring editors, as there is no support or motivation to succeed in the industry. Unfortunately, a certain level of confounding support already exists at the academic level as well, as evident in the country’s top film schools.

Support for the practice of editing needs to begin with education, but there is a substantial lack of editing courses at Universities all across the country. For a Bachelors of Arts degree in Post Production at Emerson College, one of the top ten film schools in the US, students are still only offered two traditional editing classes, both of which focus entirely in Avid. The only linear editing software that is formally taught at Emerson is Avid, even though the industry standard also includes Premiere software. It is not just Emerson College though, this method of ignoring foundational editing skills is widespread. In 2006, University of California, Los Angeles advertised an editing intensive course taught by specialists Mark Sawicki and Glenn Campbell, titled “Special Visual Effects Cinematography.” The school distributed an informational text (Wolff, Ellen. 2006) which boasted that students will be given the tools they need to create their own animated movies, and effectively utilize the necessary software. In theory, this class sounds like a step in the right direction, since Visual Effects classes are essentially non-existent at traditional film schools, but it is not as progressive as it sounds. The class was only offered for one semester at UCLA, proving that the skillset is viewed as nonessential. The sheer fact that the class was marketed in a way to show off innovative, “new,” and forward-thinking visual effects artistry just showcases the insufficient level of support.

By not offering enough educational opportunities for editors, it forces aspiring creators to self-teach. This is not the ideal way, as there are many formal techniques involved in all areas of editing. Beyond mastering the complexity of software involved, there is a specific intuition that needs to be molded in a collaborative environment. As noted by Karen Pearlman in Cutting Rhythms: Shaping the film edit (2009), there is a rhythm to making cuts, “something developed from mindful awareness of the rhythms of the world and the rhythms of one’s own body.” This kind of skill is not something that can be taught over the internet, as Pearlman describes it as a connection to the world around you. There is a necessity to master the craft in a collaborative setting, as the profession itself requires a large amount of collaboration with different directors as well as other editors.

“The editor is a material, physical, rhythmical entity that accrues rhythmic knowledge of the world. However, her body has another function in the creation of rhythm. It doesn’t just recognize and store information about rhythm, it also provides rhythms. The editor’s living, breathing body is the other source of rhythm available in the edit suite. Rhythm is in her own physical presence” (Pearlman).

The presence of the editor is very tangible, as noted by Pearlman. There is artistic flow in the editor’s cuts, which often times sets the mood for the entire story. The intricacy of this specialty should not be undermined through unpaid wages and insufficient credit because editors hold the most power over the final product. The editor sifts through hours upon hours and hours of footage and hand selects the actor’s performance, giving them a hand in the success of every Oscar-winning actor. Had the editor chosen another cut, another rendition of the same emotional monologue, the actor’s acclaimed performance may have never been recognized. There is credit due when an actor’s mistakes are permanently erased and lost to the cutting room floor, while the winning performance was so meticulously selected and modified. There are stylistic choices made by every editor that are too often written off as the director’s vision.

(Figure 1) Source: Fresnobee

On February 22nd, 2017 a short film was released, Hollywood’s Greatest Trick, documenting the mistreatment of VFX artists in Hollywood. The documentary film acknowledges,

“In practically every modern blockbuster, the visual effects department is the largest group of workers.” (refer to Figure 1).

It is evident that the work of these artist is very much relevant and necessary yet it is still a claim that “credits often fail to list up to one-third of those who actually worked on the film.” The film exposes that recognition is not the only issue plaguing editors in the industry. Too many industry professionals are misinformed about the amount of work that goes into creating these visual effects, so the expected turnover rate is unrealistic. Editors are assigned intricate animation projects and then given a due date that does not reflect the workload or respects the time of the editor.

“Older workers say they feel pressured to match the output of younger people, who routinely put in 80 hours a week, or fear being fired” (Longstreth, Patrick TruTV)

In 2014 the world was given insight into this perplexing power struggle going on in Hollywood through a documentary by Scott Leberecht called Life After Pi. The film exposed the disheartening truth behind the creation of the critically acclaimed film Life of Pi, and their visual effects contributors Rhythm & Hues Studios. The documentary explains,

“In 2013 Rhythm & Hues Studios won the Academy Award for visual effects for Life of Pi, 11 days after declaring bankruptcy”

-( Life After Pi).

How can a visual effects company like Rhythm & Hues Studios, who have clearly exhibited their talent and level of excellence, not remain financially stable? The answer goes back to insufficiency. The documentary notes that the funding provided from the production company did not properly cover the cost of their labor. The visual effects could not be created within the work hours funded by the production company, yet the visual effects artists still have a significant amount of work that needed to be done. Rhythm & Hues Studios paid the artists “out of pocket” which eventually led to financial instability. As noted on the official press website of the Life After Pi documentary,

“The old model of the movie business is passing away, yet modern-day Hollywood grips it ever more tightly. VFX companies and artists are treated as mere cogs in the machine, with little regard to creating a sustainable, collaborative working relationship. This will lead not only to the demise of more VFX companies, but to increasing instability industry wide”

-( Life After Pi).

The mistreatment of these artists sets us up for a very unsustainable future with visual effects. Editors are viewed as expendable, so instead of seeking compromise employers will simply replace the editor that complains about the work conditions. These positions then become a revolving door, as editors are receiving unrealistic task expectations, and then being fired when they can’t meet the deadline, or fail to keep quiet about the insufficient recognition. In turn, these jobs are then eventually getting filled by less qualified, or inexperienced editors and the quality of the content suffers in the end. This is an issue that affects the film and television industry as a whole, as the system in place will soon have very obvious repercussions.

Change needs to start from the base level. Post production education needs to be more widely accessible, and these academic institutions needs to provide ample opportunity for editing students to explore their field. Academic institutions are responsible for educating the next generation of editing professionals, and that responsibility should be given due diligence. Beyond graduation, the film industry needs to provide ample support for these professionals through fair wages and credit. There is an untapped excellence that exists within the full collaboration between film professionals. If editors were properly compensated for their time, then perhaps they would be more willing to expand upon projects. If a professional is not getting paid enough to cover the minimum amount of work required, then it is unlikely they will go the extra mile and expand upon the limits of the production. If editors were encouraged through the proper professional respect, then the film industry as a whole would significantly benefit as well. I am not asking anyone to worship film editors, or put them on the movie posters that plaster our walls. I am simply asking that the film industry to acknowledge the individuals making their cuts.

Work Cited:

Al-Jamea, Sohail “Hollywood’s Greatest Trick.” Fresnobee. Published Feb 22, 2017. Film.

Baker, Wayne E., and Robert R. Faulkner. "Role as a Resource in the Hollywood film industry." American Journal of Sociology 97.2 (1991): 279-309.

Emerson College."Post-Production (BA, BFA)." Web.

Girgensohn, Andreas, et al. "A semi-automatic approach to home video editing." Proceedings of the 13th annual ACM symposium on User interface software and technology. ACM, 2000

Hadley, Greg. “Hollywood's Greatest Trick.” Fresnobee. Published Feb. 22, 2017. Article

Lang, Brent and Rainey, James "‘Sausage Party’ Animators Allege Studio Used Unpaid Overtime." Variety. N.p., 16 Aug. 2016. Web.

Leberecht, Scott. Life After Pi. Hollywood Ending., Feb. 2014. Film

Pearlman, Karen. Cutting rhythms: shaping the film edit. Amsterdam: Focal Press/Elsevier, 2009. Print.

Wolff, Ellen. "Visual Effects At UCLA." Animation 20.1 (2006): 54. Film & Television Literature Index with Full Text. Web. 30 Jan. 2017.

Latest Graphic (12/17/18)

2018-12-17T19:47:00.001-08:00

2018-12-11T00:47:00.006-08:00

Today I learned a fact that was very difficult to accept. Mosquitoes are the world's deadliest animals.

That fact just feels like some type of loophole. SURE I understand the effects that mosquitoes can have on a population. I would never downplay their reign of terror. BUT...
When I'm searching for world's deadliest animal, I'm clearly looking for pictures of three-headed sharks or some type of mutant spider that can instantly morph into a bear. I wish Google could understand intentions.
The second most upsetting fact that I learned came from the very same list. Below mosquitos, I found an animal that met some of the scare tactics I was searching for. Massive body, long protruding fangs, endless appetite. On paper, this animal sounded terrifying and very deserving of a spot on this list. In actuality, I often times forget this animal even exists because it seems more like a cartoon character than anything else.
One of (if not THE) deadliest land animal in the world is the hippopotamus.
A fricken hippo.

Meaning, if you're in a room with a lion, a crocodile, and a hippo, don't underestimate the awkward looking herbivore. The other two animals would most likely end up using you as a human shield because guess what? LIONS AND CROCODILES ARE KNOWN PREY TO THE HIPPO. The image of Simba the lion being eaten alive by a fat ugly hippo is just about as disturbing as it gets.
I will admit, the most amusing predator/prey relationship definitely goes to orca whale vs moose.

"In Alaska and Northern B.C., transient orcas are known to prey upon deer and moose as they swim between islands or across inside passages," -Prince of Whales Whale Watching

Back to hippos: THEY KILL PEOPLE.

I'll never get over that.

This feels a lot like the time I learned more people die from falling coconuts than shark attacks. Was that actually a proven fact?...or was that just something the punk kid in the back of the school bus made up? UPDATE: It's not a proven fact.
It doesn't mean it's incorrect- it's just that science has not yet provided us with an accurate coconut death toll. Unfortunately, nobody volunteered for the job of etching tally marks into the wall every time a coconut was convicted of manslaughter- and until someone steps up to the plate and takes one for the team, we don't have the necessary data to make this comparison.
If you'd like to waste a short portion of your day and dive into some research on sharks vs tree nuts, Check this out
Another graceful return to hippos: PROOF THAT THEY KILL PEOPLE
An article from The Guardian sites 13 people died from a vicious hippo attack near Niamey, the capital of Niger.

The most detailed account of a hippo attack (that I could find) came from a man named Paul Templer, in a 2013 article also from The Guardian. He heroically recounts the time he was swallowed by a hippo, which I'm sure makes a great story to tell at parties.
The most astonishing part to me was when he admits he was initially unaware of his surroundings and the only reason he knew he was inside of a hippo was that he managed to free one arm from the beast's mouth and touch its wiry whiskers. Can you IMAGINE that texture?

I think it's safe to say that I don't want a hippopotamus for Christmas- not anymore.

Cabin in the Mountains

2018-12-10T14:49:00.004-08:00

Looping smoke animation created in Adobe After Effects using only basic vector shapes and some pen tool. Created to showcase a smooth little animation trick that occurs with overlapping vectors that are spaced out along the timeline in order to give the illusion of one continuous cloud of smoke.

The Mayor of Bikini Bottom

2018-11-29T22:16:00.002-08:00

Made in memory of Stephen Hillenburg, the creator of Spongebob Squarepants. Inspired by season 1, episode 5, Pizza Delivery, I chose to feature the infamous boulder vehicle (which the pioneers used to ride for miles, according to legend).
Illustrated in Adobe Illustrator, animated in Adobe After Effects.

Assorted Chocolates; Digital Art Edition

2018-11-29T22:10:00.001-08:00

Disco Sheep

2018-11-27T23:20:00.001-08:00

Pure Anxiety

2018-11-27T23:18:00.000-08:00

Typography Design

2018-11-23T20:22:00.001-08:00

I began with this quote. I've admired it for years.

I'm very inspired by many of Nietzsche's philosophies, although not all (i.e God is dead).

In its original verbiage, the quotation reads;

"Be careful, lest in casting out your demons you exorcize the best thing in you."

The illustration was inspired by the dark, gothic theme associated with certain terminology from the original quote.

The idea of "casting out your demons" via exorcism (quoted as "exorcize") encourages the horror genre. I illustrated the brooding female image with the gothic tone in mind. I utilized deep purple tones upon consideration, as I felt that a red/black color scheme would be too predictable- given the Halloween-like setting. The grey/white hair color was chosen to match the classic mythological depiction of witches with long grey locks.