Independent component 2

Literal
A) I, Evan Muth, affirm that I completed my independent component which represents 30 hours of work.
B) I worked an additional 30 hours of mentorship with Phillip Miller at the ROP program at our school.
C) (Class attendance records)
D) I completed, as well as typical TA work, hours of work on Foley sound required for multiple student films. 
(Log: https://docs.google.com/spreadsheet/ccc?key=0At4aFtErPjFrdHBMaTZSbkJIYUZpNVB6NFMyQ2U3Z2c&usp=sharing) Interpretive
I worked well above thirty hours. With more than 100 hours of mentorship in total, thirty hours only scrapes the surface of the work I have done with Mr. Miller, and the ammount that I have learned from him. As evidence, one simply needs to look at the attendance records from the class.

Applied

My EQ has been helped most importantly by my independent component in that I am now able to better understand what technology is needed to be beaten.

Mentorship

Literal:

My mentorship was with Phillip Miller, the Film and video creation regional occupation teacher at our school. Every Tuesday and Thursday, from 1:28 PM to 4:30 PM, I am helping students to create films, learning how to create films, advancing my experience in the film industry. I have worked on Foley sound for many student projects, and learning how to better do all behind the scenes work in the film industry. Projects I have worked on have included pre and post production for six seperate music videos, five public service announcements, and 14 different short films, working as a Foley artist for many of them, and a sound tech on the rest. In addition, I have worked closely with Mr. Miller, in order to foster my understanding of the film industry as a whole, especially what technology is being introduced.

Log: https://docs.google.com/spreadsheet/ccc?key=0At4aFtErPjFrdFQ2RllMMVZpYVB5RmlOV3pKN3VpQ3c#gid=0

Interpretive:

I have learned how to best create sound effects in a manner that will accelerate the post production procedure, using my three answers. While I have personally gotten little use out of my best answer, to recognize the unknown, the others have helped greatly, and I have been able to see ways in which recognition of the unknown could be useful.

Applied:

My EQ has been helped most importantly by my mentorship in that I am now able to better understand what technology is needed to be beaten.

Blog 2 Exit Interview

1) My EQ is "How can a Foley artist best stay ahead of the rapidly evolving technology in the film industry." Having been answered three times, with "Always be working," "Recognize the unknown," and "Understand the concepts of Musique Concrete," I can say without a doubt that Recognition of the unknown is most important. This is because anybody can, with dedication, work their days off, or learn to understand the principles behind musique concrete, but it is a special talent to recognize the unknown, one that cannot be taught in any class.

2) Upon arriving at my question after an hour of debating over the wording, I quickly realized what my first answer was. A Foley artist must always be prepared to record a sound at a moment's notice. As such, I worded my first answer as "Always be working." This was arrived at by my independent component, and strengthened by my third interview.
My third interview also gave me my second answer, to "recognize the unknown." What this means is to be able to think of exactly what you need for a sound effect, and be able to create it, even when the sound required is for something that doesn't actually exist. A perfect example is the sound required for a meteor hurtling towards earth, because nobody has ever experienced that sound.
My third answer was arrived at upon reading the article "In defense of vulgarity: the place of sound effects in movies." This article referred to many prominent Foley artists as drawing inspiration from Musique Concrete, a type of music that draws sound from everyday life.

3) I found that there was shockingly little research on my topic, very early on in my work. One of the few websties that held consistently valuable information for me was filmsound.org, the source of nearly 50% of my articles. Upon discovering this site, and the plethora of external links from the site, I was able to accelerate my research and increase my knowledge of my topic immensly.

4) My two most significant sources are my third interview and the article "In defense of vulgarity: the place of sound effects in movies." My third interview, on it's own, gave me my second answer, and solidified my first, as it was the most in depth and helpful interview. The article mentioned above was influential in crafting my third answer, as it opened my eyes to potential sources of inspiration for Foley artists.

5)

Blog 23 Junior interview.

1) I interviewed Jamison Jackson, from North house.

2) What Ideas do you have for your senior project and why?
Well, I would like to do my senior project on the LAPD because my dad is a Lieutenant II of the Gang & Narcotics division there. I think it would be interesting to investigate the job life of an officer, not just the "home life" I know my dad for. This would consist of ride alongs during the workdays, as well as filling out some paperwork. All of which I'm more than willing to do.

3) What do you plan to do for your ten hours during summer?

My dad works a ten hour work day, so I'll just literally "follow his shadow."

4) What do you hope to see or expect to see in watching the 2013 2-hour presentations?

Something cool i guess. I wasn't really hoping for or expecting anything. I'll just probably write down some notes that i can use for next year.

5) What is your topic, why did you choose it, and how did you complete your ten hours?

I decide I wanted to do something else a few months in, besides just film, so I chose something neat, making all the weird effects. I was told I had to do something and film. So I decided I would start general, and worked with the fire marshal's office down at Manhattan Beach, did all the safety checks at the sound stages there.