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There is a lot of truth to this scene from Men In Black, unfortunately.

Domestic Classism as Reflected by Elite Wealthy Tenants who live higher in the tower than the lower level Tenants who they see as beneath them. Scene from High Rise based on the book by JG Ballard.

When I saw this in the theater, I had no idea what the reshaping of the human body by technology met, but being ahead of their time respectively, David Cronenberg has never been shy about controversial subjects and neither is the author whose book Crash was adapted to the big screen by Cronenberg, JG. Ballard.

Scene from High Rise. Based on the novel by J.G, Ballard.

Scene From High Rise, based on the novel by JG Ballard.

This is one of my favorite westerns. I am not sure whether I like Once Upon A Time In The West more than The Good, The Bad And The Ugly because they are both so good and so different at the same time. I could type on and on about this film, but this is a video channel. Maybe one day I can pass on what my discoveries are in a voice over, but otherwise I prefer to let the clips speak for themselves. The mix of black and white a color comic filters began here with the idea of violence being black and white and contrasting that with color. It works very well here.

The challenge here in this epic confrontation between The Man With No Name and The Colonel that results in their alliance was editing it down to sixty seconds and applying the same filter while adjusting so that the character features are still distinguished and the hats also delineated artfully.

I think that Klaus Kinski’s character is nicknamed the albino, but if I am wrong, please pardon me. Here is edited two confrontational scenes into one minute with a deep western filter that seems appropriate for the setting and all.

Westerns also can be stylized especially the westerns of Sergio Leone. I had this idea that after the Colonel defeats the villain that the scene would shift into a gritty color western filter. My idea is violence between a good man and a bad man may seem black and white, but the final results never add up so easily and we conclude with The Man With No Name’s accounting. Both literal and humorous at the same time. I have lots of western examples I will share since a lot of space opera like Star Wars is heavily dependent upon the western as the source of much of American mythology.

I prefer the mono black and white filter to evoke that black and white comic book or graphic novel effect. It would be interesting to revisit this scene and add detailed artificial colors, but it would require time and a better program than iMovie.

This one is a failure. Why am I sharing it then? Well to learn from one’s failures sometimes one needs perspective. See I am thinking about something short in the future, but it has nothing to do with Star Wars. The limits of what can be done with iMovie become all too clear here. The edits are not as smooth. The attempt to color the different pilots according to their squadron, which is supposed to be blue, gold and red look like some color iMovie calls blue, but you would not know it. Gold looks like yellow and red looks like pink. I own nothing here. This is just an experiment.

This is another experiment in editing down film and mixing it for pacing. I have combined footage from Stanley Kubrick’s adaptation of Stephen King’s The Shining with Mike Flanagan’s adaptation of Stephen King’s Doctor Sleep to create a two minute film that could also be split up into two one-minute shorts and this time I used both the color comic filter and for the Kubrick ghost scenes as well as adult Danny’s flashbacks to the past, the black and white comic filter to give the shorts in both the two minute and single minute parts, a rotoscope motion comic feel. It is not perfect, but you can accomplish quite a lot on an iPhone with iMovie. Imagine what can be done for fun on my iMac?

Color comic filter for rotoscope effect suits Stephen King’s The Shining (1997) better here. I own nothing.

Black and White Comic filter rotoscope effect suits The Shining (1980) well. I own nothing here.

Depending on which version you are watching, within the seven part shorts series or the less than six minutes longer version, I have compiled some of the many connecting strands within the story illustrating how it hold together in a nonlinear structure. This is not a highlight of the most iconic moments from the original five feature films. I have used only what I felt was necessary to let the films speak for themselves. However I do acknowledge that one could cut it in many ways to illustrate a point. This is how I see it. I prefer the longer video version because it demonstrates how everything holds together so I hope you watch that in the videos, but if you chose to watch the seven individual shorts, they should be viewed in the numeric order from one three seven as they are intended to be seen and not randomly. I hope this illuminates all who may have questions about how the timeline works and why while still enjoying it too. I own nothing here. Planet Of The Apes and it’s sequels as well as everything connected to it are the intellectual property of The Walt Disney Company and any affiliates as well as the filmmakers both in front of and behind the camera where applicable. This is for educational and entertainment purposes only. Thank you.

J Jack Nicholson is a great actor. It is easy to take it for granted especially if you grew up watching his films post the theatrical release of One Flew Over The Cuckoo’s Nest, but boy is it revelation at how his performance is so strong coupled with Stanley Kubrick’s direction and everyone who worked on The Shining (1980) in front of and behind the cameras too. In keeping with my previous excerpts from The Shining I have began with a color comic filter and contrasted that with the comic mono filter as soon as we first see Lloyd the bartender to contrast both the supernatural and evil nature of the Overlook Hotel. After Jack’s character takes his first drink and the glass hits the bar it will turn to comic mono. When it happens a second time, a subtle change to the ink filter occurs to really show how the Overlook has taken hold of him, making his character look sick and evil. However when we cut to Shelly Winters running down the hallway it briefly cuts back to the comic color filter until she runs into the room where her husband is. That room is black and white comic mono until her hand touches Jack’s shoulder, distracting him and briefly pulling him out of the hotel’s hold. This accounts for the other scenes where I used a mix of color and mono comic filters, particularly the conversation with the ghost of the previous caretaker in the bathroom of the hotel. Please note that is not owned by me. Everything is the property of Warner Brothers/Discovery, The Stanley Kubrick Estate and Stephen King. I own nothing and claim nothing. Thank you.

J Jack Nicholson is a great actor. It is easy to take it for granted especially if you grew up watching his films post the theatrical release of One Flew Over The Cuckoo’s Nest, but boy is it revelation at how his performance is so strong coupled with Stanley Kubrick’s direction and everyone who worked on The Shining (1980) in front of and behind the cameras too. In keeping with my previous excerpts from The Shining I have began with a color comic filter and contrasted that with the comic mono filter as soon as we first see Lloyd the bartender to contrast both the supernatural and evil nature of the Overlook Hotel. After Jack’s character takes his first drink and the glass hits the bar it will turn to comic mono. When it happens a second time, a subtle change to the ink filter occurs to really show how the Overlook has taken hold of him, making his character look sick and evil. However when we cut to Shelly Winters running down the hallway it briefly cuts back to the comic color filter until she runs into the room where her husband is. That room is black and white comic mono until her hand touches Jack’s shoulder, distracting him and briefly pulling him out of the hotel’s hold. This accounts for the other scenes where I used a mix of color and mono comic filters, particularly the conversation with the ghost of the previous caretaker in the bathroom of the hotel. Please note that is not owned by me. Everything is the property of Warner Brothers/Discovery, The Stanley Kubrick Estate and Stephen King. I own nothing and claim nothing. Thank you.

This is taken from Susperia (2018). I have wanted to see what can be done with tones and in this experiment I wanted to evoke something that looked like it was occurring in hell. Cutting out the cross-cutting between this character in this short and another performing, I just wanted to focus on the brutal nature of the assault so I used two different apps. iMovie and Chromic. My regret is I did not enhance the audio enough so every sound of the person’s bones being cracked are emphasized to make it even harder to watch. I could perhaps look into that in the future, but this is pretty gruesome and scary as it is. I own nothing here.

For this demonstration I have tweaked this sequence with a western filter attached in keeping with the original series, but darker and grittier. I have edited this down to communicate emotion so don’t expect this edit to be the same as the original broadcast. That is not the point of this exercise. Think of this as a sacrifice of a few to save the many and ask yourself what emotion you get from this edit in general and which do you feel tonally evokes more emotion. There are no right or wrong answers here. Only your own vision counts on this one.