The Beholders Eye: A Collection of Americas Finest Personal Journalism

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Great journalists, at one time or another, have all been characters in their own stories: people with personalities that shaped what they saw and reported, and were touched and changed by the experiences about which they wrote; and innovators who borrowed the storytelling techniques of fiction. The Beholders Eye showcases the very best of an increasing trend toward personal narrative: Mike Sager stalking Marlon Brando in the Tahitian jungle; J. Moehringers quest to discover the true identity of an old boxer; Bill Plaschkes story about a woman with cerebral palsy who runs an obscure Los Angeles Dodgers Web site; Scott Andersons story of his lifetime of covering war after war; Harringtons own tale of his interracial familys struggle to persevere; and many others.

In the Eye of the Beholder

Written by reporters who were willing to reveal themselves in order to bring readers insights that were deeper than supposedly objective third-person stories, their articles are an invaluable resource for aspiring journalists, students, and teachers of the craft of writing, and any reader with an appreciation for masterful storytelling. It was a dramedy about a group of roleplaying gamers and what happens when on of them enlists to go to Iraq.

I had always been what I call gamer adjacent - I spent a lot of time with gamers, my husband is a lifelong role-player but never was really one myself. What drew you to the project?

Beholders Eye – Free Online Books

Polansky, who is also half of Cavegirl Productions as both our audio engineer and legal consultant, and I met another filmmaker, Brian Stillman of X-ray Films, during a screening of Of Dice and Men. Brian had made the documentary Plastic Galaxy: The Story of Star Wars Toys, which was screening at the same venue, and we struck up a friendship. It was he who originally had the idea for Eye of the Beholder as a lifelong fan of the art, and he approached us about partnering on the project. The game almost entirely takes place in your imagination, and the art provides an anchor point for it that everyone at the gaming table can share. We knew we would have to place an emphasis on gathering the artwork, which again spanned over 40 years of pieces.

We contacted collectors and started acquiring or finding books that we could scan. Ultimately we would have over 1, items to pick from for the film.

We also knew we wanted to avoid making the film feel like a slideshow, and while we planned for movement and interesting transitions in the display of the art, we actually arranged to have some of the art animated. With a documentary, there is not usually a script to follow, so the need for meticulous organization is even greater than it would normally be on a film project. I knew that in addition to taking advantage of the Metadata Workspace, I would be living in the Markers panel. A significant portion of my time would be spent logging, organizing and marking footage.

I knew the process would involve taking each interview, 40 of them and 72 hours of footage, and using markers to explain each and every sound bite. The ability to find, sort and navigate with those markers would be key to how I constructed the story.

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Being able to easily move from Premiere to Bridge and Photoshop was also going to be key as I made selects from 1, pieces of art. I used Bridge as my visual guide to the artwork and brought pieces directly into my project from that.

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Then, I would be able to make edits to pieces of art with Photoshop and see those changes immediately reflected in my timeline. Search the history of over billion web pages on the Internet.

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