kbmillersmasteryjournal

[kbmillersmasteryjournal]

Reflection - Film Business

        All these moments will be lost in time. Like tears in rain.

Today marks my final day as a student of Full Sail University. We wrapped up our thesis film as we should and familiarized the business culture of film distribution and content. We found multiple film festivals to submit our project to, all for the cause or sealing a worthwhile world premiere. As we readied ourselves for the outside world, constructing portfolios and websites to flex our new skills, we gained vital knowledge regarding the sale of ourselves and our creative property. It was a postscript send-off reminding us to take pride in what we have become, in this industry’s web of connections and entrapment. We must learn to take control, learn when to give and take, learn who is and is not worth our time. It’s a brutal cycle, yet it is the price to pay for storytelling. You must take the whole course before receiving your just desserts.

        It’s hard to tell where I am going from here. If anything, this year at Full Sail has eliminated more distractions and opened more doors within this short time than any amount of education has before. My college life, including my time at the University of Maryland Eastern Shore, was a home away from home. It gave me a second family when I needed it most. It was hard. It knocked me down and picked me up until my ribs were bruised, and yet I kept going back for more. Now, I feel as though that was the only thing I knew how to do. These friends and connections I have made will hopefully last a lifetime, because I’m not sure what I’d do if they didn’t. My time here feels as though I’ve woken from a dream after all this time. Part of me longs to fall back asleep. The rest of me can breathe a sigh of relief as I finally turn towards the sun.

This is my final reflection.

[kbmillersmasteryjournal]

Reflection - Film Assembly

           This month marks the final process for our thesis film. Part of the month is spent on the dubbing stage, refining the sound that gives our visual story life. At the beginning of this year, I was mistaken on what Film Assembly entails. I prepped for advertising and assembling a trailer or promotional material, when in reality I should have prepped for sound editing. This month has shown me that sound is an experience as encapsulating as the visuals.

           The goals which I had set during month one were misguided, but the resulting knowledge was just as valuable. We familiarized ourselves with another industry-standard program, Pro Tools, and received hands on experience with an audio interface used by industry leaders. We broke down the separate elements that make up a scene, down to the very footsteps of our protagonists. It was a humbling experience, being enlightened on the work the sound department contributes to the film. Getting the material on tape is just the beginning.

           Using this knowledge, I went back and took a look at my own methods of editing sound for my animations and content. Just today, I almost scrapped an entire short video due to the quality of the audio and reconfigured my entire workstation to be more efficient and audio-friendly. Taking constructive criticism from my peers, I realized that sound was half the battle. With the equipment Full Sail has gifted me, I was able to double down and greatly improve the quality of my own freelance work.

I will continue my studies on Lynda.com and strive to improve my own material, starting with dialogue and foley. When it comes to the industry, however, I will leave it to professionals.

[kbmillersmasteryjournal]

Reflection - Post Production

        This month, our cohort assembled our thesis project into picture lock. The class spent most of their time learning Avid, an industry standard software, to assemble our own individual projects including trailers and demo reels. I myself used the knowledge to assemble my own animation project for YouTube, as well. All in all, I felt more comfortable here in post-production than any other part of the filmmaking process and felt as though I had more to give.

        To start off, this month was crucial in developing a deeper understanding on what goes into the technicalities of production. I set out to find what a production designer has to do with the post production process, only to find that these roles more or less belong to more specific artists such as the colorists. My job was pretty much wrapped by this point. This strengthened my previous statement on what production had taught me: I would feel more comfortable and accomplished in a part of the art department that required more… well… art. I had a chance to carry out my forte by providing the film with an end credits sequence. It was a much more hands-on experience focusing on what mattered most to me and left me feeling more fulfilled as an artist rather than a manager.

As for Avid, I have never in my life experienced a more frustratingly convoluted program out of the many I have come in contact with. That being said, what matters is that I now know how to use it for when the industry needs me to. I will continue to strengthen my knowledge with Lynda dot com, but it’s unlikely I’ll use it for my personal uses. Exposure to the program and this lecture has helped me better understand formatting to apply to my individual projects. Just today, the knowledge has helped me deliver an HD, web optimized experience to my viewers on YouTube. This makes post production one of the more valuable classes I have taken thus far, and I will pursue these roles in filmmaking further.

[kbmillersmasteryjournal]

Reflection - Production

        This month was the month to mark the most important project of our college career: the Thesis Film. Everything we had worked on over the course of our master’s degree had led up to this moment. We had chosen a script, a team, and familiarized ourselves with the ins and outs of set culture. This was the month to put it all to the test.

        At the beginning of the year, I set a few goals for myself regarding this particular class. However, without hindsight into what our tasks would be, a couple of these goals are misguided. Firstly, I had set out to familiarize myself with the industry standard camera, something we already took a look at a couple months prior. With my duties elsewhere, I had not the time this month to worry myself over the camera department. Secondly, I had wished to better understand the manipulation and effect of lighting in a scene. While I was not directly involved, I did take note of all the techniques our grip and electric department employed during the shoot. Our favorite rig was the flood light that gave us total control over the ‘moon light’. Lastly, I had my sights set on contributing to thesis by overseeing composition, color, design, and set building. When I began, the responsibilities of a production designer or art director were more of a mystery to me then than it is now. Working as a freelance artist before my arrival, there were many aspects of a film I had to let go (one of which was composition), being they were under jurisdiction of another department. I did, however, oversee all visual aspects of the film within the frame itself, which brings us to our conclusion.

        While I may have survived the stress test that was our thesis film I believe I have learned something valuable, be it a tad disheartening: I have learned what I do NOT want as a career out of the film industry. While hard to swallow, it is a simple truth that I have come to accept. Being production designer for our thesis film was much less about the ‘design’ than I had thought, and more about the practical applications of knowledge I did not possess. I have found comfort in digital art and animation. Stepping out into the real world, coordinating people, solving craft conundrums, and balancing materials for a budget left me frazzled, and not very fulfilled as an artist. This led me to the true path. I have never settled for less than my aspirations, which includes my happiness and confidence in my work. I believe from now on my path leads more towards digital art and animation, which has always blessed me with opportunities and work that I take pride in.

        My time at Full Sail has been so far the most valuable experience in my life. Even through the difficulties I have found a more refined career path. Though I will be taking a separate route than my peers, the film industry will always be in need of artists, and I will always be here with an expanded knowledge of the filmmaking pipeline.

[kbmillersmasteryjournal]

Short Film Review: Do No Harm

        This month marks the Pre-Production phase of our thesis film. While much of our time is devoted to making the director’s vision a reality, our education never ceases. For this month’s review, I have chosen the short film “Do No Harm” by Roseanne Liang. Chosen by Short of the Week, the film takes the victim’s point of view in a crime-driven action short, with a protagonist forced to go against her best interests to protect her patient and the one she loves.

        We begin with a familiar scene amongst hospital dramas: doctors and a lead surgeon are struggling to save a man’s life after a gang-related clash. A rival gang infiltrates the operation and threatens everyone in the room; our inciting incident. Despite her oath as a surgeon to do no harm, our protagonist risks her life to save her patient and take down the rival gang on her own, using her training in anatomy to pinpoint their weak spots. She saves her patient, for a price. We discover towards the end of the short that her patient was a man of influence, who ordered the surgeon’s young daughter to be taken hostage. This rounds off our theme: how far someone is willing to go for the ones they love, especially mothers. The surgeon won the right to be reunited with her daughter, but the film closes with the bittersweet reminder that she is now part of a very dangerous life she cannot escape. The film is littered with decisions that tests our protagonist’s morals in ways that conventional action characters would not find difficult. While many action films falter with flimsy motives behind the violence for the sake of the effect, we are given a much purer role model driven to the edge and turning to violence as a last resort. This novel approach to the genre makes for a much more compelling and emotionally charged story. It is a suspenseful, unforgiving action film with a clear and powerful purpose.

        The short was created by Roseanne Liang, who is an accomplished filmmaker within the action genre, and it certainly shows. For a short film, we are treated to a very cinematic and design heavy production. In fact, it was recently announced that the short was so well received, it became concept for a feature funded by the producer behind John Wick. This is worth mentioning due to the similarities in style between the content. First and foremost, the beauty of the short film emanates purely from the cinematography. The lighting was something out of a Broadway spectacle; dynamic blue spotlights draws the eye and pulls subjects out of the background, which the cinematographer casts in shadow to maximize the space they have. For a smaller production, they kept the events limited to a single room and hallway, focusing instead on making the most of the story and choreography. Minimal camera movement and cuts allow the audience to process grade-A stunts and practical effects, with just enough subtlety for those not drawn to the gore. The genius in the action sequence did not come from the surgeon’s savagery; rather, she used her wit and the objects around her, such as her surgical equipment, to gain the upper hand. A scalpel, once used to heal, is now used as a weapon in the exploitation of her foe’s weaknesses. It goes to show that starting from the bottom and adding just enough to set the tone you are looking for can be all you need, especially when that tone requires sharp, contrasting lights and shadows. Even the dialogue between the heroes was very minimal. The surgeon was careful not to reveal her true motives, so the audience could be introduced to it purely with visuals. Words can be powerful, yet simple hand gestures or body language can speak volumes without spoon-feeding the audience. These elements come together in a film that, unlike most short films, sets itself apart and a masterfully crafted piece.

        When applying this knowledge to our own short film, we too can use these observations to make the most out of our low budget and minimal locations. We have a very production design heavy project, but like the aforementioned short, we have lighting to our advantage. Shooting at night poses challenges but gives us full control over what the audience can and cannot see. This way, we can maximize out space to be much larger and complex than it seems, just like the surgery room in “Do No Harm”. And while we may not have much gore and action in our film, much of the challenge lies in the set dressing. Given the nighttime setting, we can get away with cheaper DIY options than if we had shot in the day time.

        While “Do No Harm” was a beautifully shot film backed by an experienced director, the short film gave me hope in pursuing our thesis film to its fullest potential. It goes to show that you can have a simple production make a massive impact if shot and put together the right way. There will always be more to learn.

        Source Film: https://www.shortoftheweek.com/2018/10/25/do-no-harm/

[kbmillersmasteryjournal]

Film Review: Harry Potter and the Prisoner of Azkaban

           For our review, I have chosen to analyze Harry Potter and the Prisoner of Azkaban, a film directed by Alfonso Cuaron and written by J. K. Rowling and Steve Kloves. This film is the third installment of the Harry PotterFranchise. I chose this particular installment due to the tonal shift that takes place between the protagonist and those around him. It is subtle, and it leads into the heavier rivalries and friendships that plague the rest of the series.

           To begin, our protagonist Harry Potter finds himself berated once again by his adoptive family. This is a familiar scene that always seems to greet us at the beginning of these films. Harry, however, has been through an emotional journey throughout the previous chapters, and approaches his situation with less caution then before. No longer powerless, he flees from the abusive household. Tensions run high from hence forward: Harry starts the year using underaged magic, Ron and Hermione are arguing over their pets, and the murderer Sirius Black has escaped Azkaban on a mission to kill Harry. Unlike the films that came before it, Prisoner of Azkaban is the first of the Harry Potter films to be so emotionally charged, with character’s decisions playing a much more crucial role than having a path set before them.

           Like all Harry Potterfilms, the appeal of the movie comes from its universe: a hidden society of witches and wizards that use magic in their everyday lives. However, like its predecessors, the chosen film also poses situations and problems that put our protagonists in the middle of a mystery. A fantasy world opens many doors for such a genre, as we can expect the answers to the mystery to be rooted in something supernatural. As such upon viewing the film, I knew the solutions would not be as simple as a misunderstanding or a who-done-it. This has the potential to bring much more appeal to younger audiences, or those who court the bizarre and fantastical. What sets this film apart from its brethren is not the genre, however, but rather it’s tone. This film marks a much darker shift in the franchise, down to its very color scheme. When before we were faced with a plot that appeared more prophetic and guided our protagonists to their goals, this story is driven purely by the emotion, the rage, and the objectives set forth by the characters themselves. In Sorcerer’s Stone, Harry’s newfound fame thrust him into situations that he otherwise would not have known or pursued, giving him incentive to dig deeper for the greater good. In Chamber of Secrets, Harry and his friends are actively pursued by assailants, making it imperative for Harry to confront the antagonist before anyone else is hurt. In Prisoner of Azkaban, however, emotions drive everything: everything down to Sirius Black’s commitment to hunting down Peter Pettigrew, to Harry making the decision to find and kill Sirius in order to avenge his parent’s death. In fact, raw emotion takes center stage with the confrontation between Harry and the Dementors, supernatural beings whom must be thwarted with positive feeling. Everything feeds back to the audience’s experience as they follow Harry through an emotionally defining journey.

           So how does the director and other filmmakers craft a film so powerful, yet focused on so many different tonal shifts? Calling back to color scheme, the visuals were the first sign of something darker on approach. From the moment our protagonists leave Platform 9 ¾, we are no longer met with the warm browns and golds usually associated with Hogwarts. Steel greys and blues dominate the general scheme. Many scenes take place at night, especially the scene that reveals Lupin to be a werewolf under the full moon. Harry’s first Quidditch match of the year even takes place during a thunderstorm. Moving on to more subtle influences on tone, the music tend to be slower and more impactful than before. The cameras in this film were even found to be primarily set to a low angle, whether you’re looking up at Hagrid, Sirius, the Whomping Willow, or a werewolf. Was it something to be admired? Was it something to be feared? Whichever it was, the director of photography wanted to bring you down to the protagonist’s level. Speaking on admiration, this was also the first Harry Potterfilm to recast a major role, which no-doubtedly may have influenced the viewer experience. The role of Albus Dumbledore, a character acting as a staple in the Harry Potterfranchise, would be given to Michael Gambon, after the previous actor Richard Harris was diagnosed with Hodgkin’s disease and passed away. Though worthy of taking up the mantle, Gambon’s performance would prove to be much stronger and more emotional than Harris’ subtle approach to the role. With Dumbledore such a strong influence on the franchise, the change in attitude and direction rippled throughout the series. All in all, these choices in setting and tone dictate the emotions audiences are meant to experience.

           The most significant aspect of the film that sutured the audience to the plight of our protagonists was the theme: facing your fears. From the moment we step back into this universe, we can sense that the majesty of it has been drained. Many uncertainties flooded Harry upon his arrival to Hogwarts, but none so powerful as his encounter with the Dementors. While the loss of his parents drove his vengeance, the audience is also introduced to Harry’s weaknesses and downfalls. This humanizes him and brings him down to Earth as a flawed individual, like any viewer watching the film. Yet, despite these flaws, he’s also seen overpowering that which ails him, in the form of a scenic metaphor: the Patronus Charm, a culmination of what makes him great. Down to the climactic scene, with a bit of time-travel trickery, Harry Potter literally saves himself from his greatest fears. It stands as one of the most power scenes in the entire franchise.

[kbmillersmasteryjournal]

Reflection - Visual Storytelling

This month it is a wonder how I am even still alive.

           It’s safe to say I will be taking on no more personal projects for the duration of my stay at Full Sail, at least in an academic sense. I have learned a valuable lesson in utility above anything else in this class. When I first came to this university, I was ecstatic and somewhat shocked at the lack of colleagues with an art background. This created an opportunity to assist my fellow filmmakers in the only way I can. However, I found a new problem to overcome in the place of scarcity: moderation. It’s odd to see the high demand for visuals of all kinds, and yet no one is willing to put down money for it. This is not the case for this month, it’s merely the everyday struggle of a freelance artist. While here at Full Sail, I want to do everything I can for my colleagues and instructors to make their vision come to life. That is the reward for my efforts, to render a fine-tuned image of something previously locked away in the mind. Yet as such the struggles of an artist, that also happens to be in high demand, and when you’re an introvert who is afraid to sound stingy at the utterance of a single ‘no’, things can get a bit hectic. A ‘yes’ here and an ‘of course’ there and before I know it, I am swamped with these menial responsibilities I have enveloped myself in. Despite having my own project to focus on I found myself spending more time on the projects of others, and I only had myself to blame.

           When we first began our Mastery Journal Assignment, we created three goals per month to rise up to. I was so blind with my own workload that, at least according to me, whatever goals I had set for myself were getting a free pass. Nonetheless the hardest months have the greatest value when it comes to learning. My goals included the study of composition, spare research into my role as a production designer, and to polish my skills in cinematography. The creation of my own project and my background in art have made me confident in my study of composition, however extra practice within the real world rather than a digital space is preferred. As Art Director for Jannie Jarvis’s Toxic, it’s no doubt I have a transparent understanding what goes into those responsibilities. Finally, whatever lab class-time we were given was spent studying the workings of the cinema-worthy camera our university possesses. I am much more secure in my abilities as I was before.

Despite the curse I took upon myself, it has been a very fruitful and productive month, and I have many more films and experience under my belt. I could not take it back for the world. After all, film is art, and the best art comes from suffering. I’d much rather be here doing what I love.

[kbmillersmasteryjournal]

Reflection - Experimental Filmmaking

This month was a very interactive class, coupled with our pitches for the thesis film. These two factors made this class the busiest one by far. I stress to everyone I meet the praises of Full Sail University, but just as much so do I stress the work. It’s not for the faint of heart. However, I did not allow such things to get in the way of developing my portfolio in the way I wanted most. I used this month to develop my own short film, one to be posted onto the Studio’s YouTube page.

For this month, I had established three goals, all orientated towards developing hands-on experience and working with limited materials. Yet, we were not left without equipment. We were allowed access to Full Sail's arsenal of lights and cameras. But with only two shooting days at our disposal, I made sure to write a script that was both small in its production and large in experience. I wrote a science fiction, one starring a young girl between the ages of six and twelve. This would be my first exposure to directing, working with underage talent, and special effects of this scale. On top of that, I agreed to produce a pitch for my own script, one that was chosen along with three others as potential short films. Both my project and the thesis pitch gave me much needed exposure to the process and paperwork behind the making of short films. Though our pitch was not chosen in the end, my research conducted on the matter was invaluable, as I learned how to navigate the Movie Magic programs inside and out. The project itself went off without a hitch, thank to the hard work of my colleagues that selflessly lent a hand to my efforts. I feel like this class has developed our relationships further than any class before, though I still believe in a separation between personal and professional environments.

All in all, this month was both a strain and a blessing. There are little more than I could ask for in regards to self-made experience. I hope that these coming months prove to be just as fruitful, without making me tear my hair out.

[kbmillersmasteryjournal]

Reflection - Directing Talent

This month at Full Sail University, we completed the class on Directing Talent. This month was all about applying the concepts we’ve learned and becoming a leader on set. We learned how to communicate effectively with talent and guide them and our crew to complete full shot lists. I was made aware of vocabulary and forms of communication towards actors that I never knew existed.

When we first began our Mastery journey, we were asked to make goals for ourselves throughout the course. I set three goals that revolved around building better relationships with my peers. The first goal involves better communication and implementing each other’s ideas. While working together with the talent and cinematographers, I was careful to listen to their concerns and consider their suggestions. Often the cinematographer suggested an angle that I had not thought of, so I adjusted my plans accordingly. I was unable to attend any Student Success Seminars due to class schedules, but I took the time to watch a video about Working with Creative Millennials on Lynda.com. My second goal was to develop effective strategies in managing a project. Though this class was not in depth about the process of production itself, I definitely feel as though I have the tools to get my point across. I took extra time to talk with peers interested in producing and watched videos on the filmmaking pipeline. If I had to head a project, I’d definitely feel more comfortable than before. However, I chose to step back from film pitches to be a production designer. Finally, my third goal was to build moral as a department leader. Speaking with producers has definitely cemented my position as a visual creative and working with the others on the shot lists helped develop a productive relationship. We were also given a list of different forms of leadership, a list that I will be saving a utilizing in my everyday interactions at work.

It was a very productive class this month, and the time was not wasted. However, thesis projects are fast approaching, are there’s still a lot to learn before I am ready.

[kbmillersmasteryjournal]

Reflection - Script Writing and Analysis

[kbmillersmasteryjournal]

Review: Kaiju Bunraku (2016)

           This week, we begin work on our first short film of the master program. However, preparation is not limited to researching the theme or style of the type of film we are going for. Observing other short films, especially those chosen by film festivals, are a great way to understand what is and is not pleasing for an audience and demonstrates different approaches you could take to convey your story. Today, we will be looking at a Sundance Short Film titled Kaiju Bunraku (2016).

           For such an odd choice of subject matter, the kaiju presented in the namesake Kaiju Bunraku (2016)is secondary in the main plot of the film. We follow a married couple as they struggle to maintain normal lives in a world of monsters. It’s a dark short film portrayed by puppeteering known as Japanese bunraku, and the story implies making the most of a situation and realizing which parts of it are the most important. The film follows the basic story structure. We begin with a quarreling couple: a wife whom finds it necessary to continue their lives as normal, and a husband who is tired of hiding and wishes to create something meaningful. One day, the husband decides to break from the normal routine to create a work of art. Despite his wife’s pleas, the husband chooses to remain with his art when a kaiju invades and destroys their home, resulting in his own demise. There is nothing the wife can do afterwards other than continue to clean up as she had always done before.

           When we examine the film in a more technical way, we find that the creators took interesting liberties when it comes to the style and tone of the film. As stated, the filmmakers did not opt for live action or animation. Instead, they used a traditional puppeteering technique known as bunraku. This medium, coupled with a contemporary theme, makes for a dark yet humorous take on the kaiju genre. Much of the set dressing and costuming of the puppets were highly traditional, as if it were a dramatic retelling of history. Aside from the editing, no special effects were used. An entire set was built for this thirteen-minute short film at about one-half scale, making this one of the most physically constructive of the short films we have seen so far. Lengths were taken to ensure that what the audience was seeing was real, as though it were a play on a stage. No visual trickery was omitted either; the puppeteers wore black to take the emphasis off of them, and while the filmmakers may have had the option of removing them digitally, they chose not to.

           The film primarily took place in one definitive angle, as though the audience were watching the story unfold on a stage. We are never taken into the interior of the house or the shelter, and the only transition we take is that of the husband’s demise within a trench. While the camera is set with constraints, it did in fact follow the usual patterns of close-ups, mid-shots, and wide shots. Editing was the fair standard one would find in a sitcom or comedy. The one intangible feature worth noting, however, was the music. The music was very subtle, in the style of folk singing one would expect in a traditional Japanese media. However, it also doubled as a voice over, giving the audience exposition that would otherwise be very difficult to portray in thirteen minutes.

           In a way, the short film we are producing is much like the puppeteering seen in Kaiju Bunraku (2016). In our film, The Audacious Adventures of Mr. Tiddles (2018), a killer teddy bear is out for blood when a suiter divides his owner’s attention. To portray such an outlandish idea in such a short amount of time, we must improvise our own method of puppeteering in a seamless fashion for the style we chose. Just like the Sundance short, we are aiming for dark humor in a prop-heavy feature. Watching this short film gave me new appreciation for what goes into breathing life into these inanimate objects. Practical means such as camera angles, fishing line, and POV manipulation will be used to our advantage.

           Watching this short film gave me some much-needed material and concepts to work off of to further our own project. Observing the masters and winners of film festivals experiment with new methods of filmmaking can help us ask the important questions, ones that will lead us to new discoveries in our craft.

Leyva, Lucas. Kaiju Bunraku (2016). Retrieved July 15, 2018, from https://www.shortoftheweek.com/2018/06/19/kaiju-bunraku/ 

[kbmillersmasteryjournal]

Just a Little ELECTRIC SHEEP Inspiration

This is not the first time I posted something about Bladerunner, and it won’t be the last. This time, we talk about the revelation of an android... and he’s seen things you people wouldn’t believe.

I. (2017, October 08). What Makes 'Tears in Rain' Special | Blade Runner. Retrieved June 23, 2018, from https://www.youtube.com/watch?v=GbXIONSjmkY 

[kbmillersmasteryjournal]

[kbmillersmasteryjournal]

[kbmillersmasteryjournal]

Just a Bit of FURIOUS Inspiration

Mad Max: Fury Road was one of my all time favorite movies, perfectly blending fun-as-hell action with a compelling yet simple story, all under the umbrella of some of the best production design I have ever seen. Just watching this short video gave me goosebumps. Maybe a quick 3-minute look will show you why I admire this film so much, from the concepts to the end result to the music as well.

S. (2016, February 25). Mad Max - Fury Road: Concept Art Comparison. Retrieved June 21, 2018, from https://youtu.be/eqgqeqzujwI 

[kbmillersmasteryjournal]

If you didn’t know, I place all my work across multiple different platforms under the name ‘Studio Kinbla’. I felt as though a studio name would encompass more than just art, and it felt simpler and more recognizable than K. B. Miller. What the name ‘Kinbla’ means is another story. I also designed a logo for the studio, which I now incorporated into a logo for my own pen name. Though not as elegant as the original, it holds the original symbol I’ve come to be known by, and it’s design is reminiscent of film reels turned to stone.

[kbmillersmasteryjournal]

Feedly is a great place where you can subscribe to articles pertaining only to your interests and field of work. Very handy when you don’t have time to visit 100 different websites! I would find it more handy, however, if we were able to share our feeds with other members. I could not seem to find that option.

https://feedly.com/i/welcome