Gavin’s blog

SUMMARY

ROLE

• Bass

INTENTION (SMART GOAL) FOR THE SESSION

• By Nov. 15, as part of TEAM 3, I will have evidence of Having a dark, Haunting sounding, complex bassline by following Stoner Metal/Sludge/Doom bass riffs for Session 2.

PRE-PRODUCTION – INQUIRY

LEADER(S) IN THE FIELD / EXEMPLARY WORK(S)

Stin (Austin Tackett)

PRIMARY SOURCE

I chose this source/leader in the field because I absolutely love this band and their latest album that they’ve released and I’ve been extremely inspired to make something replicating their sound.

SECONDARY SOURCE

Gavin will write a sentence here about the video above and how it demonstrates why this album rocks! – Mr. Le Duc 🙂

TRAINING SOURCE(S)

1:09-Play with the rythm

2:26-Add Syncopation

4:14-Play notes other than the root

6:14-add octave jumps

7:00-Rythm and timing

9:12-amp and filter envelopes

10:41-Note length

12:33-melodic Fills

13:47-Subtle development + variation

0:32-The sliding gives me ideas for a bassline

0:48-The kind of jumpy, stopping and going of this part is cool too

The whole video just gives me ideas for what I can do with bass, I don’t really know what notes I could put.

PROJECT TIMELINE

• Decide roles for the team.
• Discuss the overall sound/genre.
• Research influences.

Production Milestones

• Getting things to work.
• Jamming with the team.
• Mixing the song.

Post-production Milestones

• Export and link the song.
• Present the slideshow.
• Receive feedback.

PROPOSED BUDGET

Around $1400

EVIDENCE OF TEAM PLANNING AND DECISIONS

Will have screenshot of lyrics

PRODUCTION – ACTION

THE (FILM, SOUND, or GAME)

Embed or link the final version of the film, game, or song from your Google Drive (FILM & ROCK) or itch.io (GAME). Make sure it is publicly viewable. Write a descriptive sentence about the embedded or linked project above.

SKILLS COMMENTARY

Link the team slideshow with your role, SMART Goal, and evidence of your SMART Goal for this session. Write a sentence about your role in the slideshow and creative and technical contributions to the project.

POST-PRODUCTION – REFLECTION

21st CENTURY SKILLS

WAYS OF THINKING (PROBLEM SOLVING)

As per usual, we had LOTS of technical difficulties. There we mostly just issues with getting sound to go through, or come out the right way. We solved most of these issue by getting assistance from peers, or Mr. Le Duc. Other times we had to figure out solutions on our own, which we would get through by either talking through things as a team, or allowing just one person to take over and solve it, which worked very well most of the time.

WAYS OF WORKING (COLLABORATION)

We collaborated really well this session I felt. We talked about issues we would encounter, we jammed very well together, we allowed eachother to express concerns, opinions, and ideas.

TOOLS FOR WORKING (INFO & MEDIA LITERACY)

How did you grow in these areas during this project? Pick one and explain.

WAYS OF LIVING IN THE WORLD (LIFE & CAREER)

How did you grow in these areas during this project? Pick one and explain.

REACTIONS TO THE FINAL VERSION

Place at least one comment from the PEER review and cite the student’s first name. Place at least one comment from the ADVISOR review and cite the student’s first name.

SELF-REFLECTION

Pick one of these types of reflection; action points, evaluative, intentional, or retrospective, state which one you picked, and write your reflection here…

GRAMMAR AND SPELLING

I used Grammarly to check my grammar and spelling.

EDITOR

LOGLINE

• Student wanting to be free of the burden of the school system to feel fulfilled and free.

PROTAGONIST 

• The everday student.

PROTANGIONST CORE WOUND / MOTIVATION 

• Not liking school/the school system

GENRE

• Industrial Metal
• Sludge Metal
• Noise Rock

PLOT DESCRIPTION

• Write a paragraph describing the beginning, middle, and end of the story arc 
  • Does the Protagonist achieve their goal?

TREATMENT

• The setting is basically just school. It could be capital, or any other school.

INFLUENCES and EXAMPLES

• Chat Pile
• Swans
• Godflesh
• Sonic Youth

SUMMARY – Due Sept. 27

ROLE

• Editor

INTENTION (SMART GOAL) FOR THE SESSION

• By Nov. 15, as part of TEAM 6, I will have evidence of having better audio within my edits by How to Fade Out Audio Tutorial | Adobe Premiere Pro 2021 for Session 2.

PRE-PRODUCTION – INQUIRY – Due Oct. 3

LEADER(S) IN THE FIELD / EXEMPLARY WORK(S)

Angus Wall

PRIMARY SOURCE

SECONDARY SOURCE

TRAINING SOURCE(S)

0:18-How to add the fade out effects

0:27-Constant gain and what it does

0:56-Constant power and what it does

1:09-Exponential Fade and what it does

3:00-Syncing Footage with audio

7:20-Repeating the process

9:16-Merging audio with video

10:38-Making a custom shortcut

12:40-Naming MOS files with subclipping

14:20-Final Organizing before editing

PROJECT TIMELINE

PRE-PRODUCTION MILESTONES

• Storyboard Done
• Roles Decided
• Script Written

Production Milestones

• Footage Recorded
• Audio Recorded
• Editing Done

Post-production Milestones

• Films Presented to Class
• Films Presented to Professionals
• Blog Post and Project Tracking Sheet Filled Out

Budget

Film Budget Sheet

$4890 for 30 hours of work, for the whole team=

EVIDENCE OF TEAM PLANNING AND DECISIONS

PRODUCTION – ACTION – Due Oct.11

THE (FILM, SOUND, or GAME)

Embed or link the final version of the film, game, or song from your Google Drive (FILM & ROCK) or itch.io (GAME). Make sure it is publicly viewable. Write a descriptive sentence about the embedded or linked project above.

SKILLS COMMENTARY

Link the team slideshow with your role, SMART Goal, and evidence of your SMART Goal for this session. Write a sentence about your role in the slideshow and creative and technical contributions to the project.

POST-PRODUCTION – REFLECTION – Due Oct. 18

21st CENTURY SKILLS

WAYS OF THINKING (CREATIVITY, INNOVATION, CRITICAL THINKING, PROBLEM SOLVING)

How did you grow in these areas during this project? Pick one and explain.

WAYS OF WORKING (COMMUNICATION & COLLABORATION)

How did you grow in these areas during this project? Pick one and explain.

TOOLS FOR WORKING (INFO & MEDIA LITERACY)

How did you grow in these areas during this project? Pick one and explain.

WAYS OF LIVING IN THE WORLD (LIFE & CAREER)

How did you grow in these areas during this project? Pick one and explain.

REACTIONS TO THE FINAL VERSION

Place at least one comment from the PEER review and cite the student’s first name. Place at least one comment from the ADVISOR review and cite the student’s first name.

SELF-REFLECTION

Pick one of these types of reflection; action points, evaluative, intentional, or retrospective, state which one you picked, and write your reflection here…

GRAMMAR AND SPELLING

Place the name of the grammar and spelling tool you used to create this blog post.

EDITOR

Name the person who reviewed your blog post for grammar and spelling issues. First name only. DID YOU DELETE ALL OF MR. LE DUC’s INSTRUCTIONS ABOVE? <— DELETE THIS INSTRUCTION, TOO 🙂 !!!

LOGLINE

Guy trying to figure out why he is in the future to get back to present time.

PROTAGONIST 

• Protagonist explained
• Tell us a little about this person
• More description is better, really ‘paint a picture’ of them

PROTANGIONST CORE WOUND / MOTIVATION 

• Identify the core motivation/wound / want for the Protagonist

GENRE

• Surrealism
• Dystopian

PLOT DESCRIPTION

• Write a paragraph describing the beginning, middle, and end of the story arc 
  • Does the Protagonist achieve their goal?

TREATMENT

The protagonist is living in a dystopian world with a bleak, surreal atmosphere. run down buildings, abandond cars, moss covered buldings.

INFLUENCES and EXAMPLES

• The Walking Dead
• Maze Runner

SUMMARY – Due Sept. 27

Role

Editor

Intention (SMART Goal) for the Session

By Oct 11, as part of TEAM 6, I will have evidence of Learning how to edit quickly on premier pro by following 30 Keyboard Shortcuts for Session 1.

PRE-PRODUCTION – INQUIRY – Due Oct. 3

LEADER(S) IN THE FIELD / EXEMPLARY WORK(S)

William Chang

Primary Source

Secondary Source

TRAINING SOURCE(S)

• 0:17 | Toggle Fullscreen Previews
• 0:24 | View Full Timeline
• 0:33 | Replace Clip in Timeline
• 0:43 | Timeline View Options
• 1:08 | Create Timeline View Preset
• 1:40 | Bring the Previous Video to Playhead
• 1:57 | Target Layer Shortcuts 2:24 |
• Cycle Through Videos in Timeline
• 2:37 | Select All Layers and Edit Points
• 2:44 | Select All Tracks at Playhead

PROJECT TIMELINE

Pre-production Milestones

• Storyboard Done
• Roles Decided
• Script Written

Production Milestones

• Footage Recorded
• Audio Recorded
• Editing Done

Post-production Milestones

• Films Presented to Class
• Films Presented to Professionals
• Blog Post and Project Tracking Sheet Filled Out

PROPOSED BUDGET

Film Budget Sheet

EVIDENCE OF TEAM PLANNING AND DECISIONS

PRODUCTION – ACTION – Due Oct.11

THE (FILM, SOUND, or GAME)

Tommy and Moe

A noir Dram-edy about a mafia dispute between Tommy and Moe deciding who’s gonna have to do the deed.

SKILLS COMMENTARY

I edited this film with the intentions of adding a unique kind of look to it, or at the very least, a visually appealing style. I’d like to hope I achieved that.

POST-PRODUCTION – REFLECTION – Due Oct. 18

21st CENTURY SKILLS

Ways of Thinking (Problem Solving)

I was able to solve most of the many problems I faced this session. There were points where I was struggling with trying to do certain things, like adding an adjustment layer, however I was able to figure it out. I was also able to solve the issue of slow editing, which could have been detrimental to the film, by using certain shortcuts and techniques.

Ways of Working (Communication)

I felt our team’s communication was very good this session. If we had a problem we tried aproaching it as a group instead of leaving the person to work it out on their own.

Tools for Working (Info)

As previously mentioned I faced a few problems while editing in Premier-Pro. I couldn’t figure out why I couldn’t add an adjustment layer but I finally found an FAQ which explained why it would’t work.

Ways of Living in the World (Career)

This session taught me that communication is key and that it can be the difference between a complete, stressful mess and a fun time with a good result at the end.

REACTIONS TO THE FINAL VERSION

“I liked the black and white color grading and dark style”

-Isabelle

SELF-REFLECTION

Retrospective: I think this session was really good for myself, not just to learn how to be a better editor, but it really helped me realize a lot of things about how to be efficient with time and how to communicate better with people to get to a goal.

GRAMMAR AND SPELLING

I used Grammarly to check my spelling and grammar.

EDITOR

Mira

SUMMARY – Due Sept. 27

Role

Bass

Intention (SMART Goal) for the Session

By Oct 11, as part of TEAM 3, I will have evidence of having heavy BIG BASS by following 6 Bass Tone Fixes for Session 1.

PRE-PRODUCTION – INQUIRY – Due Oct. 3

LEADER(S) IN THE FIELD / EXEMPLARY WORK(S)

Takeshi (Boris)

Primary Source

I chose this because I really enjoy the way the bass and guitar mesh together to make a really gritty, heavy sound.

Secondary Source

TRAINING SOURCE(S)

• 1:16 Tune the bass properly
• 2:13 Pluck pull across, and not up
• 4:19 Know what kind of strings your using
• 7:53 Learn youir pickups
• 9:15 Learn your knobs

PROJECT TIMELINE

Pre-production Milestones

• Decide roles for the team.
• Discuss the overall sound/genre.
• Research influences.

Production Milestones

• Getting things to work.
• Jamming with the team.
• Mixing the song.

Post-production Milestones

• Export and link the song.
• Present the slideshow.
• Receive feedback.

EVIDENCE OF TEAM PLANNING AND DECISIONS

PRODUCTION – ACTION – Due Oct.11

THE (FILM, SOUND, or GAME)

Song

an experiemental rock jam using a spacey, almost haunting atmosphere.

SKILLS COMMENTARY

This session I wanted to explore how to make the overall sound of the bass more impactful and heavy while also complimenting whatever other type of style of sound the other teamates had decided for their roles. I think I managed to do that pretty well overall. There was of course some struggle with getting the tone of the bass to compliment the guitar in a way that wasn’t overbaring, or didn’t sound weird in a bad way.

POST-PRODUCTION – REFLECTION – Due Oct. 18

21st CENTURY SKILLS

Ways of Thinking (Problem Solving)

This session we had some issues with getting certain things to work in garagband. We were able to fix most if not all problems by either getting assistance from someone, looking up how to do something, or just figuring it out through trial and error.

Ways of Working (Collaboration)

This session I really wanted to focus on communicating with my team and trying to get everyone involved. Our team collaborated in a way that allowed most people to contribute something they wanted to.

Tools for Working (Media Literacy)

This session I used a lot of the knowledge I’ve gained from listeing to music and tried applying them to the song. Some examples are the bands The Cure, and Xiu Xiu.

Ways of Living in the World (Career)

This session I noticed that at times the team would get distracted, as we all do, so I would try getting us to focus in a polite way, most of the time it worked. Just respectfully reminding people of the task at hand while still being able to have fun is something I feel can be very effective.

REACTIONS TO THE FINAL VERSION

Luke, Dylan and Josh liked the psychedelic atmosphere the song had.

SELF-REFLECTION

Reflection: I really want to explore doing heavier, noisier and faster bass. I felt like this session I contributed effectively with what I did, but there’s definitely more I could do.

GRAMMAR AND SPELLING

I used Grammarly to check my grammar and spelling

EDITOR

Tucker

When I think about an upstanding hard worker, I think of Warner. I met Warner in a music theory class in September of 2023, and since then we have bonded through the local music scene of downtown Olympia. When Warner needs to do something, he puts his mind to it, and gets it done. When Warner enters a room smiles begin to show. No place of work will want to miss out on the joy of having Warner as an employee.

Summary

This project was about testing how different microphones affect audio, more specifically how they affected my voice.

Microphone Audition Podcast

Microphone Audition Podcast

Shure SM58

The Shure SM58 was my favorite microphone. I liked the way it colored my voice and sort of isolated the lower tones.

Terms and Concepts

• Microphones
  • Dynamic – The sound waves themselves create the electrical signal by moving the membrane diaphragm of the microphone. Very popular and very well known. It is good for the low and middle range, NOT the high range.
  • Condenser – The membrane has an electrical current that waits for sound. When the sound waves hit it, it responds instantly. They are all over the place, but they need an electrical charge {amplifier} from something {battery}.
• Polar Patterns
  • Omni – Picks sound up from all directions equally. This is used for interviews because it can pick up more than one person, without having to have two separate mics.
  • Cardioid – Picks up one half of the microphone, also known as a ‘directional mic’. Most sensitive in the front, about 180 degrees. Shaped like a heart.
  • Bi-directional – ‘Figure of 8’, picks the front and behind of the mic, but the 90-degree angle on both sides does not get picked up.
• Transduction – Converts one form of energy to another.
• Voltage – An electric force or a potential difference shown in volts.
• Phantom Power – Activates the condenser in a microphone. DC powered mostly between 12 and 48 DC voltages.
• Sensitivity – Voltage at its known sound level. Can be called by its voltage or decibels. A higher number means more sensitivity, everything is mostly in negatives. Sound pressure.
• Frequency Response – The range of sound the microphone can produce and how sensitive it is within the range. You want it nice and flat.
• Transient – A variation in current, voltage, or frequency.
• Placement – Placement of the microphone is key, depending on the sounds you want, it can just be the distance from you or the instrument from the microphone. This part of the microphone can affect others emotionally in a way to connect with the audience.
• Proximity Effect – Decreased sensitivity to low mics, which reduces background noise and vibration and counteracts when used very close to the source.
• Output – A place where the sound leaves the system.
• Characteristics – This is the Relative Response and Frequency measured in a Hertz graph to show how good or bad the microphone is. This can show the quality of the mic.
• Noise Rating – The signal (sound source) to noise ratio measured in decibels (dB). Noise is any sound in the background you don’t want. Electricity vibrates at 60dB so you want the ratio of the signal and noise to be higher than that. Preferably 90dB or higher.
• Hardware
  • Clips – A clip is something that you use to hold a microphone on something {for example – stand }, but, using the wrong kind of clips can affect the performance, make sure it is tight so it has the correct effect.
  • Stands – This ties in with a clip, this is what the clip will connect to. This keeps the microphone towards the object you want to hear without having to hold it or keep it still.
  • Windscreen – Something that covers and protects the microphone, mostly a foamy material.
  • Direct Box – A device used to connect an instrument directly into the audio mixer.

What I Learned and Problems I Solved

• WRITE A SMALL PARAGRAPH DETAILING WHAT YOU LEARNED AND AT LEAST ONE PROBLEM YOU SOLVED AND HOW YOU SOLVED IT.
• DELETE ALL OF MR. LE DUC’s INSTRUCTIONS DETAILED ABOVE AFTER COMPLETING THEM

1918-1928: The Triumph of American Film…

• Citizen Kane (1941) dir. Orson Welles
• The capabilities of the use of light really shined through in certain parts.
• The Thief of Bagdad (1924) dir. Raoul Walsh
• it immediately makes everything clear to the viewers, yet it still anticipates the viewers.
• Desire (1936) dir. Frank Borzage
• Gone with the Wind (1939) dir. Victor Fleming
• Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
  • “the artists were silenced” yet it’s still argued there was in fact art within these films.
• Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
• even the shadows had light
• The Maltese Falcon (1941) dir. John Huston
• The Scarlet Empress (1934) dir. Josef von Sternberg
• The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
• One Week (1920) dir. Edward F. Cline and Buster Keaton
• Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
• Three Ages (1923) dir. Buster Keaton and Edward F. Cline
• Keaton understood film, he understood they films were about looking, suspense, tension
• Buster Keaton Rides Again (1965) dir. John Spotton
• The General (1926) dir. Clyde Bruckman and Buster Keaton
• he played with patterns. this film contains what is considered the most extravagant ending
• Divine Intervention (2002) dir. Elia Suleiman
• Limelight (1952) dir. Charlie Chaplin
• City Lights (1931) dir. Charlie Chaplin
• The Kid (1921) dir. Charlie Chaplin
• Chaplin portrayed his childhood through this movie, while also humanizing comedy.
• Bad Timing (1980) dir. Nicolas Roeg
• The Great Dictator (1940) dir. Charlie Chaplin
• Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
• Toto in Color (1953) dir. Steno
• Awaara (1951) dir. Raj Kapoor
• Sunset Boulevard (1950) dir. Billy Wilder
• Some Like It Hot (1959) dir. Billy Wilder
• Luke’s Movie Muddle (1916) dir. Hal Roach
• Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
• Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
• Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
• I Flunked, But… (1930) dir. Yasujirō Ozu

…And the First of its Rebels

• Nanook of the North (1922) dir. Robert Flaherty
  • Flaherty used non-actors, people who weren’t stars to make it sort of amplify the ethics and realism of the film(s)
• The House Is Black (1963) dir. Forough Farrokhzad
• Sans Soleil (1983) dir. Chris Marker
• The Not Dead (2007) dir. Brian Hill
• The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
• Leth was asked to remake the film with a different challenge every time.
• The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
• Blind Husbands (1919) dir. Erich von Stroheim
• The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
• Greed (1924) dir. Erich von Stroheim
• The progression of the color yellow and how much it appears throughout the film represents the progression of the character’s greed, with yellow representing money.
• Stroheim in Vienna (1948)
• Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
• The Crowd (1928) dir. King Vidor
• this film showed a lot about society and how it was emerging.
• The Apartment (1960) dir. Billy Wilder
• The Trial (1962) dir. Orson Welles
• Aelita: Queen of Mars (1924) dir. Yakov Protazanov
• Posle Smerti (1915) dir. Yevgeni Bauer
• The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
• This film was so raw and emotional that people on the set started crying. the close-ups feel real/
• Ordet (1955) dir. Carl Theodor Dreyer
• The President (1919) dir. Carl Theodor Dreyer
• Vampyr (1932) dir. Carl Theodor Dreyer
• Gertrud (1964) dir. Carl Theodor Dreyer
• Dogville (2003) dir. Lars von Trier
• Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard

Introduction

• Saving Private Ryan (1998) dir. Steven Spielberg
  • The muffled audio while they are underwater adds to the realism.
• Three Colors: Blue (1993) dir. Krzysztof Kieślowski
  • Certain scenes make us empathetic.
• Casablanca (1942) dir. Michael Curtiz
• The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
  • a change of pace from American films, which choose to take things fast, while older Japanese films like to take their time.
• Odd Man Out (1947) dir. Carol Reed
• Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
• Taxi Driver (1976) dir. Martin Scorsese
• directors take certain techniques from other filmmakers but make something new out of them, such as bubbles being a reflection of problems.
• The French Connection (1971) dir. William Friedkin

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

• movies were born in New Jersey in the 1890s.

• Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince
• The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise
• Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
  • the first shot ever taken
• Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
  • the Lumiere brothers innovated films and expanded them, unnerving audiences with certain shots with how real they looked.
• Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise
• Sandow (1894) dir. William Kennedy Dickson
• What Happened on Twenty-third Street, New York City (1901) dir. George S. Fleming and Edwin S. Porter
• Cendrillon (1899) dir. Georges Méliès
• Le voyage dans la lune (1902) dir. Georges Méliès
• La lune à un mètre (1898) dir. Georges Méliès
• The Kiss in the Tunnel (1899) dir. George Albert Smith
  • HE created a technique called “the phantom ride”, where it looks as though a ghost is quickly floating along.
• Shoah (1985) dir. Claude Lanzmann
• 2001: A Space Odyssey (1968) dir. Stanley Kubrick
  • Kubrick used a phantom shot mirrored onto each other to portray an almost out-of-body experience.
• The Sick Kitten (1903) dir. George Albert Smith
• October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
• Once Upon a Time in the West (1968) dir. Sergio Leone
  • close slow zoom-ins on one’s eyes show intensity.
• The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector

1903-1918: The Thrill Becomes Story or The Hollywood Dream

• Life of an American Fireman (1903) dir. Edwin S. Porter
• Sherlock Jr. (1924) dir. Buster Keaton
• The Horse that Bolted (1907) dir. Charles Pathé
• The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes
• Vivre sa vie (1962) dir. Jean-Luc Godard
• Those Awful Hats (1909) dir. D. W. Griffith
• The Mended Lute (1909) dir. D. W. Griffith
• The Abyss (1910) dir. Urban Gad
• Stage Struck (1925) dir. Allan Dwan
• The Mysterious X (1914) dir. Benjamin Christensen
• Häxan (1922) dir. Benjamin Christensen
• Ingeborg Holm (1913) dir. Victor Sjöström
• The Phantom Carriage (1921) dir. Victor Sjöström
• Shanghai Express (1932) dir. Josef von Sternberg
• The Story of the Kelly Gang (1906) dir. Charles Tait
• The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
• The Empire Strikes Back (1980) dir. Irvin Kershner
• Falling Leaves (1912) dir. Alice Guy-Blaché
• Suspense (1913) dir. Phillips Smalley and Lois Weber
• The Wind (1928) dir. Victor Sjöström
• Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
• The House with Closed Shutters (1910) dir. D. W. Griffith
• Way Down East (1920) dir. D. W. Griffith
• Orphans of the Storm (1921) dir. D. W. Griffith
• The Birth of a Nation (1915) dir. D. W. Griffith
• Rebirth of a Nation (2007) dir. DJ Spooky
• Cabiria (1914) dir. Giovanni Pastrone
• Intolerance (1916) dir. D. W. Griffith
• Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata