The new Personal Pizzas from Papa Johns are a great addition to our menu. Three specialties are offered: Sheriffs Round up, Space Ranger-Roni, and Reach for the Pie! They can also be customized with any sauce or toppings. There are three new Toy Story 5 themed boxes with limited time prints. Don’t forget about the Rootin Tootin Ranch!
Filmed at the Papa Johns in Chatham Heights. The constant humming of the ovens combined with the smell of baked dough and cheese makes for an unforgettable atmosphere. The heavy foot traffic in the area means that these quick personal pizzas fly out the door. Our friendly staff will help get the order made and out the door.
Be sure to stop by and grab yourself a Personal Pizza! Each one made to perfection with care. On sale for a limited time for $8.99 at participating stores.
Bloopers are an essential part to every piece of video media. I don’t think I have ever recorded myself to make a video like this so there were quite a few mistakes. It was also insanely hot in the store this day.
Filmed at the Papa Johns in Chatham Heights. This was late night after the recent storms and our air conditioning went out. The flour gets sticky and the dough starts to get wet. Everything starts to get wet. Condensation aside, the personal pizza turned out perfectly as always.
Looking back on the assignment, I would have prepared a script instead of just winging it. I had a lot of bloopers for my commercial because it was improvised. I learned that creating video media takes time and planning to end up with an effective product.
The Midnight Rider needs no introduction at this point. Typically found, or should I say heard, riding the streets after dark on his way home from work. However, the Midnight Rider still rides for fun. He and his crew get out to enjoy the sun and the breeze any chance they get. Today it was just him and P Long hitting the road.
Image of The Midnight Rider
We ride through the backroads of Stafford and Hartwood. We feel the sidewall of the tires on every twist and turn we make. It was about 90 degrees outside and the sun was beaming down onto us. However, with all of our vents open and acting like a wind tunnel, we stay cool as long as we don’t have to come to a stop.
The Midnight Rider Learned he needs to slow down and enjoy the little things in life. Riding home from work at night is definitely different. The night rides start to feel like a necessity. However, the leisure rides feel like an escape from reality and all of its problems. The random daytime rides get more and more rare as life goes on and people get busy. As long as there are two wheels down on the right side of the pavement, everything will be alright.
Watching the scene from the 2003 Hulk movie with visuals only was certainly different. The scene starts with Eric Bana as Bruce in the bathroom shaving his face. It is a close up shot of the razer gliding across his neck. The shot switches and is now looking from behind him as he starts to wipe the foggy mirror. Bruce sees something in the mirror and leans in for a closer look. The camera cuts to the to have the same angle behind Hulk, who is in the mirror looking back at Bruce and mimicking his movement of wiping the mirror. It cuts back to the view behind Bruce when Hulk busts through the mirror, grabs Bruce, says something, and then pulls him into a blue void behind the mirror.
The scene was easy to follow the second time with the screen off and the sound on. There is soft background music. The razor can be heard scraping Bruce’s face. The music goes quiet and a faint squeak can be heard from the mirror. There are some eerie sounds with a low growl before the sound of broken glass. A deep Hulk voice says, “puny human” followed by a woosh and another glass breaking sound.
When putting it all together, I see many of the filmmaking techniques being demonstrated in this clip. One of the main ones that I notices was the placement of the characters on screen. Following the ideas presented in Ebert’s essay, Bruce is on the right side of the screen and the Hulk is on the left because Hulk is being portrayed negatively in this scene. Even when the camera flips to the other side of the mirror, Hulk is still on the left side of the shot.
Another technique that I noticed is the one point perspective that was showcased in the Kubrick compilation. The shot is behind the back and looking at the mirror. It switches between being behind Bruce and Hulk’s back. Switching between characters with the same shot on them is an interesting choice because it reinforces that Hulk and Bruce are the same person. Bruce is having an internal conflict with himself.
My day doesn’t really start until I get to work, and there are an infinite amount of sounds that I hear every single day. Starting off with the door chime. Every time I get to work and every single time a customer walks in I hear the dreaded beep. The beep that means I need to drop everything and put a smile on my face to go help a customer. After the customer places their order, it is time to make their pizza. This comes with the droning sound of the spinner, the crashing of the screens and docker, and the banging of the makeline as it gets opened and shut throughout the shift.
Once the pizzas are done, the ear piercing timer goes off to let every employee in the store and the units on either side of us know that there is something coming out of the oven. Speaking of the oven, that is the constant rumble that can be heard in the background of every sound that was recorded in the store. After spending enough time in the store it starts to get blocked out. The pizza peel makes a distinct clash when making contact with the oven conveyor and then when it gets set down on the polished aluminum cut table.
The most satisfying sound in the store is when the stickers get torn off the label printer to go onto the boxes. The perforated lines rip perfectly and make a crispy sound. The most unsatisfying sound however is when the phone rings. Nothing good comes from a store phone call. A driver took the wrong order or can’t get in contact with the customer, or the call center placed a customers order incorrectly and they call me to make edits. It always seems to happen right in the middle of a rush. My night always ends with the same few sounds. Before I actually leave, I hear the safe closing and the door chime one last time. To end it all off, I hear the sound of whatever vehicle I decided to take that day fire up and come to life to carry me home for the night.
AI generated image of the spooky forest that was inspired by the sound.
I created a spooky soundtrack that sounds like it belongs in a horror shooter videogame cutscene. Imagine waking up in a dark unknown forest. Shadowy figures weaving through and flying above the trees. The camera pans down to alien looking technology attached to various parts of the players body making ominous beeps and boops. There is massive silhouette in the distance. The footsteps can be felt through the grounds and the vibrations of its growl make vision blurry.
I used Studio One for the sound effects and instrument recording on this assignment. My favorite part about the soundtrack is the quiet background music behind all of the effects. I took a classic drum track and slowed the tempo down to keep the ominous tone. It was still missing something, so I plugged in my bass and used heavy distortion to get those scratchy low notes.
Everything layered together gives the spooky ambiance that I was looking for. There are a couple parts where all of the effects go silent and it is just the music. Those moments give a sense that it might be over. However, the groans and booms of monsters looming return louder and closer after each silence.
Seven Nation Army by The White Stripes is already considered to be a classic. For this assignment I wanted to take the classic and make it classical. I changed every instrument using Studio One and a MIDI file of the original song. Most of the instruments came from the East West sound libraries. Piano, flute, violin, cello, trombone, and a harp are all used to replace the original instruments.
Original song by The White Stripes
The new instrumentation starts off the iconic riff with harp and trombone to replace the original guitar and bass. The low pitch coming from the trombone sounds menacing by itself at the start. However, the drums kick in quickly followed by the piano at the first chorus which makes the song sound more recognizable. I chose Seven Nation Army because the riff is so recognizable that really any instrument could be playing the main riff and it would be obvious.
My favorite part about the new instruments is the guitar solo. Instead of a solo, the part is being played by a flute, violin, cello, and piano. The flute was ran through an old radio sound effect that makes it cut through the rest of the mix. The new instruments in the solo give the part a lot more power than the original had. The song has been steadily building up to this crescendo moment of the solo. Overall I think the new instruments still keep the iconic song intact while giving it a more classical and orchestral sound.
The open roads of Florida during Daytona Bike Week stretch endlessly under the sun. Filled with the steady hum of engines and the rhythm of freedom. Riders glide along coastal highways and through palm-lined streets, surrounded by nothing but other bikes and the shared thrill of the ride. Each turn leads to another scenic stop. From beachside bars to small-town landmarks. The journey itself becomes the destination.
Video from Thrashin Supply Youtube showing some things that go on at Bike Week
Across the event grounds, vendors and pop-up shops line the streets, offering everything a rider could want. Custom parts gleam under the light, leather jackets hang proudly, and the scent of fresh polish and barbecue fills the air. It’s a marketplace built for bikers. A place where you can upgrade your ride or just talk with people who share the same passion for motorcycles.
As the sun sets, the energy shifts toward the night’s entertainment. Concerts echo through the crowd, group rides form under neon lights, and races bring out the competitive spirit that defines the week. Whether it’s the roar of engines at the track or the sound of guitars on stage, Daytona Bike Week captures the full spectrum of motorcycle culture.
The Midnight Rider game would be a minimalist indie game set in a neon‑lit town that never truly sleeps. Players take on the role of the Rider, a lone motorcyclist who roams the streets at night, chasing fragments of memory and meaning. The gameplay blends exploration and atmosphere: the player rides through quiet alleys, empty highways, and flickering storefronts, encountering recurring figures like drifters, stray animals, and even the Rider’s own thoughts manifested as ghostly silhouettes. Each night reveals subtle changes in the world, hinting at the blurred line between reality and perception.
The game would focus heavily on story with each night uncovering more of the Midnight Rider’s past and what his future holds. The soundtrack would be a big part of the game featuring a strange blend of retro style Synthwave and other 70s – 90s rock and country songs when the story requires it. The menu and loading music would have that retro looming synth sound like this mix by Frequency.
Cutscenes would be framed cinematically, emphasizing solitude and reflection. The Rider is often shown from behind or in profile, with the camera lingering on the glow of streetlights or the reflections in his helmet. This framing keeps the focus on atmosphere rather than exposition, letting players interpret meaning through visuals and sound. The overall style is inspired by indie narrative games that are deliberate and immersive. The story unfolds through tone and environment rather than dialogue, inviting players to experience the midnight world as both observer and participant.
The Midnight Rider is known for finishing his shifts long after most riders have called it a night. His card reflects that reputation. High speed, solid endurance, and a comfort level that suggests he’s used to long, quiet stretches of road. The low safety rating isn’t an accident. He rides in hours when visibility drops and traffic thins. That’s the environment he moves through, and it’s shaped his reputation.
The image on the card captures him during one of those late departures with his helmet on warming the bike up while surrounded by bikes that look like they’ve already settled in for the night. He is likely also queuing up his theme song, Midnight Rider by the Allman Brothers Band. He’s the one who still has miles left to cover. The lights behind him hint at the kind of places he passes through: spots that aren’t fully asleep but aren’t fully awake either. His presence in those spaces gives him a reputation for slipping through situations that would slow down riders who depend on daylight.
His story isn’t built around dramatic confrontations. It’s built around the quiet challenges that come with riding at an hour when the world feels unpredictable. Blocked roads and unpredictable people are just the start. The Midnight Rider handles each of these with a calm that matches the stats on his card: fast enough to react, steady enough to stay in control, and experienced enough to make it home even when the night doesn’t cooperate.
