Choosing My CCR Format

Hi blog!

Today I'll be choosing my CCR formats! Here goes:

My thought process is that CCR Questions 1 and 2 seem more complicated than Questions 3 and 4, so it'd probably be best to do something that allows me to engage in dialogue.

I think an enhanced podcast with an interview style discussion would work for this. The engaging dialogue would keep it dynamic while allowing me to reflect on the project. The interaction would be between a host and guest, and I could use my skills in Audacity and sound design to add music transitions, an advertisement section, and even sound bites from the film to avoid it just being talking.

For Questions 3 and 4, I wanted to even be more creative, so I thought about existing formats that are popular on Youtube and how they could be adapted. One thing I found while researching was the Wired Google Autocomplete interviews.

Copying these wouldn't be creative, but I brainstormed about potential similar formats, and I thought about going through my Google Search History.

I could sign into a new Google account or go into a new browser and type in questions that I can answer in a video. The video would include the questions from the Search History on screen as well as voiceovers where I explain how the questions and the research they led to shaped my production. To keep things engaging, I can include cutaways to footage and screenshots. 

I think these are creative ways to explore my production in depth, keeping the viewer/listener engaged while fully answering each question. 

I have a lot of work to do making these ideas a reality so see you next time! 

CCR Question #4 Research

Hi blog!

Today I'll be answering the final CCR Question - Question 4.

Question 4 is How did you integrate technologies - software, hardware, and online - in this project?

I'll be breaking it down into subquestions like in my previous blogs on the CCR questions.

Here we go!

1. What hardware did you use in production?

We used smartphones to record as we didn't have access to professional cameras. We used the iPhone 15 and 16 depending on who was present during production.

In JD's room, we used Abe's smart lighting system to control the lighting. 

In recording the voiceover, we were able to use my microphone, a HyperX Quadcast. 

2. What software did you use for different stages of production?

In pre-production, I used Arc Studio Pro to write the screenplay / script correctly. I also used Google Docs to help plan the storyboard and production schedule.

In production, we used the iPhone camera app on the iPhone 15 and 16 and used the cinematic mode because it looked more professional and added a Depth of Field effect.

In post production, we used Capcut for editing and Audacity for voiceover editing. We also used Google Drive to share video files losslessly. 

3. How did you use online tools in research & distribution planning?

Throughout the entire process, I used Blogger to document everything.

I also used Youtube to find the no copyright rap music.

I used Google to do research and I cited my sources using a website called EasyBib that helped with formatting. 

4. How did technology impact the entire filmmaking process?

Technology shaped the entire process in not just how we filmed and edited, but how we developed ideas, adapted to challenges, and refined the product.

In pre production, Arc Studio Pro formatted the script and structured my thinking. It made sure the scenes were intentional before shooting.

Blogger and Google Docs allowed us to track our progress and pivot when necessary, like when we switched genres from thriller to sports comedy.

During production, using the iPhone camera & cinematic mode allowed the film's aesthetic to feel more polished by adding depth of field. Even filming in a public gym became manageable with strategic framing which might not have been possible with more professional equipment, showing how tech allowed us to adapt to real world problems.

Post production had perhaps the biggest impact on shaping the final product. We used Google Drive's lossless file sharing to collaborate and maintain high video quality. Audacity and my HyperX Quadcast allowed us to make professional voiceovers, making dialogue clearer and more immersive. Capcut's editing tools helped refine comedic timing, fix pacing, and add the credit sequence that makes the opening more realistic and conventional.

Technology didn't just help with production, it allowed us to make the most of the resources available and tell a story that wouldn't have been possible otherwise.

CCR Question #3 Research

Hey blog!

Today I'll be breaking down my Question #3 research. Like with Q1 & Q2, let's break it down into subquestions. 

The question is "How did your production skills develop throughout the project?"

Here goes!

1. How did your process evolve from pre-production to post-production?

Initially, we wanted to do a thriller film, researching openings like Se7en, No Country for Old Men, and The Dark Knight. I explored how thrillers build suspense and considered incorporating non-linear storytelling and in media res openings.

However, after a group discussion and feedback from my teacher, I pivoted to a sports comedy, using my research on CoA films like Ferris Bueller's Day Off and Coach Carter to inform my ideation.

I used Arc Studio Pro, a professional scriptwriting website and learned the proper screenplay format, which is reflected in our script.

I researched sound design and decided to integrate semi-diegetic music in the song that plays during the gym sequence. 

We originally planned to shoot at the school gym, but had to pivot to using a public gym (LA Fitness). We had to adapt and replace certain shots when others didn't work - replacing squats with treadmill/cycling shots. We also had to frame shots strategically to protect other people's privacy and remove distractions, both in the gym sequence and in the basketball sequence.

We used Audacity for voiceovers, and in post I learned how to clean up background noise and use VST plugins (the compressor and equalizer). 

2. What unexpected challenges did you face, and how did you adapt?

Filming in a public gym was unexpected, and we had to deal with background noise and people in frame. We adapted our shots and angles and even replaced the squat shot with a treadmill/cycling one. 

We also had to change locations for the coach scene to stay on schedule; we initially planned to film at school but conflicting study hall periods and some failed attempts at getting permission led to us changing it to the office at Abe's house.

3. How did working within limitations shape your learning experience? 

The biggest lesson wasn’t about creating a high quality product but about learning how to adapt and solve problems within limitations. Being forced to adapt improved my ability to think on my feet and it showed me that there's much more to production than just filmin
g. It's also about finding the right location and adapting to real world limitations. 

I initially assumed that once we had a plan in place, execution would be straightforward. But I quickly realized that filmmaking is as much about problem solving as it is about creativity.

Also, working with a limited equipment setup made me more conscious about how small adjustments make a big difference - especially with things like camera stability. Efficiency was also important when working on a scene like the basketball scene; people were waiting to play ball and so we had to work under time constraints. 

It was about making the most of the resources available. 

4. Where did you start, and where did you end up?

To start, I had little experience with real-world filmmaking challenges (location issues, sound problems, shot planning).

In the end, I developed skills in adapting to problems, making effective creative decisions under constraints, and using tech/software to enhance low-budget productions.

That should be enough to answer Question 3, see you next time with Question 4!

Group Meeting #2 Reflection

Hi blog!

Today we did our second group meeting in class. Our goal was to help each other with our projects and blogs. Here are the expectations our teacher laid out for us:

Like last time, I took notes on Google Docs on everyone's projects and what we discussed about their blogs. I also singled out one of my group members, Fati, and we exchanged notes for our blogs.

This is what I had down for my notes:

My notes for Fati:

For your CCR Research #1 post, you should do more research or scripting than deciding what format to do it.

The GRWM is a good idea, but that’s for the format blog at the end of the week not the research.

In post production posts:

• The honesty about having problems with refilming etc is good
• Images of process are good
• Be more specific about what u had trouble with in Adobe Premiere
• Voice with enthusiasm is good

Production post:

• Good structure and chronological flow
• Honest about previous mistakes again
• Creative problem solving with the vanity mirror
• Clear explanation of the challenges faced
• Could expand and talk more about the technical details / techniques / camera settings etc used
• (would be useful for CCR 4)

Fati's notes for me:

• “I saw Gabriel’s blog, it’s very good he has a lot of info and I like how he includes pictures, it makes the blog posts more entertaining”

We helped Julian with title ideas for his film and we helped Fati with a problem she had with her film's title. I helped her with her blog and helped clarify what could've been a big problem with her CCR Research blog posts.

I think the first group meeting was more helpful because it completely changed the direction of our project, but that's hard to beat. This meeting still gave me an idea of what other people are working on

and it gave me an opportunity to help them and think about some things for our project too, such as the title. 

See you next time!

CCR Question #2 Research

Hey blog!

Today I'm going to be researching for my second question of the Creative Critical Reflection. 

The second question is "Question 2: How does your product engage with audiences, and how would it be distributed as a real media text?" 

I think, like last time, the best way to research how to answer this question is by breaking it down into subquestions and then researching to answer them thoughtfully.

Here goes!

1. Who is our primary target audience, and which aspects of the film specifically cater to them?

Our primary target audience is teenagers and young adults (13-21 years old), particularly those interested in sports and humor.

A Pew Research Center survey shows that nearly half of US teens are "almost constantly" online, with platforms Youtube and Tiktok being the most popular among that group.

This implies that they prefer faster-paced, more engaging content. Earlier in the year, I also did research on teen audiences when doing research for my Music Video project and its persona, Richie Stein. One of Richie Stein's core values was authenticity because I found in my research that teens value authenticity and emotional depth.

Our film would be engaging to a teen audience because it balances humor with an emotionally grounded underdog story (I researched the "underdog effect" in my last post) and because it incorporates fast-paced storytelling and authenticity with its characters and their struggles.

It deals with a type of identity problem that certain teens may specifically struggle with, but the process of individuation itself is something that teens, young adults, and even adults alike all deal with, making it relatable.

2. How do we hook modern teen viewers with short attention spans right from the start?

Researchers at Microsoft found almost 10 years ago that our average attention span when consuming digital content was now 8 seconds. With the rise of short-form infinite scroll social media platforms like TikTok, I'd estimate that this has only reduced, and given the earlier research on how much US teens use these platforms as well as what I've observed myself, I'd say that in teens it's less than 8 seconds. 

To combat this, our film drops the audience right in the action opening in media res, which I explored in my blogs when researching approaches to filmmaking. We also have fast-paced editing, cutting quickly between movements and we employ unexpected humor with the actual airball, giving a "payoff" of sorts in the middle of our opening, rewarding the viewer and encouraging them to keep watching.

3. Which online platforms are best suited for distributing a student-created film?

Given that Airball is a student film, a theatrical release isn't initially realistic, and we'd focus on platforms with:

- A large teen audience

- Free to distribute

- Encourage engagement, community, sharing, etc.

This makes YouTube the obvious choice for a primary platform. It allows for free distribution, potential virality, and a video that's 2 minutes long in a horizontal format. The aforementioned Pew Research Survey also showed that it's the most used platform by teens.

However, to market our film we'd also use Tiktok and Instagram Reels to capture more of the teen audience and increase chances of going viral. Tiktok and Instagram are the second and third most used platforms by teens and make going viral simple. We could post clips from our film, behind the scenes, etc.

We could also submit our film to film festivals and gain exposure beyond social media.

4. What promotional strategies could drive viewers to actually watch and share the opening?

Leveraging social media by sharing funny clips from the movie is our best bet. Clips like the actual airball sequence and the subsequent reactions from the other players are actually funny and have potential to go viral. 

Once we get some money (whether that be from crowdfunding, ad revenue, sponsorships), we could even pay people to post clips on these shortform platforms on a CPM model. Instead of traditional advertising where CPMs (cost per thousand views) are a few dollars, we could pay a few cents per thousand views to creators and drive organic virality. 

Hopefully that's enough to answer Question 2, see you next time with Question 3!

Works Cited:

McSpadden, Kevin. “Science: You Now Have a Shorter Attention Span than a Goldfish.” Time, Time, 14 May 2015, time.com/3858309/attention-spans-goldfish/.

“Teens’ Social Media Use Remains High: What Can Parents Do?” Psychology Today, Sussex Publishers, www.psychologytoday.com/us/blog/raising-humans-in-a-digital-world/202312/teens-social-media-use-remains-high-what-can-parents. Accessed 9 Mar. 2025.

Valle, Gaby Del. “The Extremely Online Life of the American Teenager.” The Verge, The Verge, 12 Dec. 2024, www.theverge.com/2024/12/12/24319692/half-of-us-teens-almost-constantly-online-pew-research-poll.

Editing / Sequencing

 Hey blog!

Today we began editing. Editing will include combining all the best versions of the clips, matching the voiceovers with those clips, adding the credit sequence, music, sound effects, and special effects like the slow mo.

We also had problems hearing JD's mom in the scene where we record from far away so I had her rerecord her line on her phone (phone is fine since we used the phone to record the actual audio anyways, besides the voiceover) and send it to me.

We laid out all the best versions of the clips in Capcut and put them in order and trimmed them. Here are some screenshots of our sequence. 

There are just a few more effects that need to be added, such as adding the voiceover audio, slow motion, and the music to the gym sequence. 

See you next time!

CCR Question #1 Research

Hey blog!

Today I'm going to be researching for my first question of the Creative Critical Reflection. 

The first question is "Question 1: How does your product use or challenge conventions and how does it represent social groups or issues?" 

I think the best way to research how to answer this question is by breaking it down into subquestions and then answering them with researched, thoughtful answers.

Here we go!

1. Which conventions define a typical teen sports comedy, and how do they set audience expectations?

Teen sports comedies typically include:

• An underdog protagonist, like JD in "Airball," who starts off not very skilled, creating a narrative of overcoming odds, much like Daniel in The Karate Kid (1984)

• A mentor figure, such as Coach Marcus, guiding the protagonist's growth, like Coach Carter from "Coach Carter" (2005) but more comedic and less serious.

• Focus on friendships or team dynamics, seen in JD's interactions with teammates.


• Humor from the character's struggles, like JD airballing a shot or struggling to bench the bar.

2. Why focus on personal or family-based pressure instead of a wider social or systemic issue?

Choosing personal or family-based pressure, like JD's struggle with his brother's legacy, keeps the story driven by the character. It also is way more relatable to teens, as according to the abstract of The Development of Self and Identity in Adolescence: Neural Evidence and Implications for a Value-Based Choice Perspective on Motivated Behavior, "Adolescence is crucial for many aspects of developing self and identity, including commitments, personal goals, motivations,[...] and [adolescents] are more concerned with and interested in others’ perceptions of self." Tackling an issue that directly deals with JD's sense of his self is relatable to all teens in some way, as everyone has to go through becoming who they really are. Also on a more fundamental note; given the two-minute runtime, broader social issues would be hard to begin to address. 

3. Which existing underdog stories inspired your approach to representing internal struggle on screen? 

My approach to JD's internal struggle draws from the character of Zuko from"Avatar: The Last Airbender" (redemption arc). These inspire a focus on character development and a man vs self, seen in JD's journey to define himself beyond his brother; although in the opening itself, JD is still locked into the paradigm of proving himself and living up to the standards his brother set. Although not as extreme, mise-en-scene defines both characters. In Airball, the set design with the basketball memorabilia and photo in JD's room manifests his obsession externally, while Zuko's character design includes his iconic scar, he is literally marked by the scar of a banished prince.

Although not directly answering this question, I also found in my research that audiences root for underdogs because we project our struggles onto them. JD as a character is the underdog, and his process of individuation and the struggles that come with it mirrors/represents the teen audience's own struggle broadly, and for some teens (who feel like they're in the shadow of their father/mother/sister/brother) it specifically mirrors their own. 

4. Which conventions do we use or challenge from the researched films? 

We use some norms like the mentor figure (Coach Marcus) and an underdog protagonist (JD) who starts off not very skilled, but instead of making the movie about him overcoming his lack of skill, it would be about how he realizes that he doesn't have to be like his older brother and can forge his own path. The conflict is more internal than external, even if the viewer doesn't realize it themselves at first. 

This should be enough to answer Question 1.

See you next time!

Works Cited:

Pfeifer, Jennifer H, and Elliot T Berkman. “The Development of Self and Identity in Adolescence: Neural Evidence and Implications for a Value-Based Choice Perspective on Motivated Behavior - PMC.” PubMed Central, 8 Feb. 2018, pmc.ncbi.nlm.nih.gov/articles/PMC6667174/.

Stromberg, Joseph. “The Science of Why We Love to Root for Underdogs.” Vox, Vox, 20 Mar. 2015, www.vox.com/2015/3/20/8260445/underdogs-psychology.