Zeh Duckie en Trent

Review of Personal Research Project

2011-05-11T14:45:00.008+01:00

The project was launched after observing that there is a growing tendency among young adults to use comedy routines as a source of information alongside or sometimes even to the detriment of conventional media sources.

The first part of the research focused on reviewing theories about humour, how it is constructed and why we laugh. Going a step further, the research document suggested there might be similarities between the role played by the performer/writer of comedic content in the present with that of Karl Kraus` early 20th century Vienna (loss of confidence in traditional media outlets due to their evident coalescing with those in power and corporate interests).

Considering this context, the topic I wanted to look at in the practice-led segment of the project was that of audience response to comedic content, focusing specifically on how performance affects the overall perception of the message. The theoretical underpinning for this inquiry was Hodgart`s concept of the aesthetic value found within comedic performance, the element which separates them from a common moralising rhetoric an angry man`s rant or a political/social mobilising discourse.

As a brief overview, the 6 artefacts looked at aspects of nonverbal and paraverbal communication, stage persona and context.

Artefact 1 gauged the overall preferences of an audience for different ways to tackle similar issues, centring around nationalism and patriotism, by four comedians. Respondents watched a video collage and answered a questionnaire. They were asked to identify what the main argument to support the comedian`s stance was, how he went about presenting it in his performance (comparison, hyperbole, impersonation, etc), the reaction he was trying to get from his crowd and how he presented himself on stage as a character.

The one comedian that confused the audience and whose performance was not enjoyed was Bill Hicks aggressive bashing of fake patriotism. This connects to the audience`s perception of the context and ambience a comedy show should have, partly, as artefact 6 will show.

Artefact 2 worked in three stages, from text to audio to video, gradually uncovering the performer behind the message. Having chosen an out of the ordinary stage appearance like Eddie Izzard (unusual at least for non-British and Western viewers) what immediately cropped up was that appearance can have two important effects upon the audience`s understanding of the material:

a) it can hinder it, because it acts as a distraction

b) it can change the point of reference, from text and paraverbal signs, to visual cues.

Artefact 3 was born after seeing how visuals can `steal the show` and absorb the audience. A short comedy sketch was written and recorded with participants taking part in a focus group. Important thing to note here, at least in terms of young adults, longer audio segments unaccompanied by visuals can easily become confusing. Some basic understanding was achieved but it was brought about by several hints and the overall message of the piece wasn`t evident to everyone.

On a side note, this artefact reminded me that there are quite a few comedians who use a flat delivery and are very successful. It seems, you don`t have to use all the tricks of drama and oratory to grab the attention of your public, and your stage persona doesn`t have to conform to those standards either (this links to artefact 5).

Artefact 4 made audiences think of paraverbal and nonverbal signs working together. Two subtitles portraying different scenarios were attached to a foreign film and respondents were asked to identify the original scenario. Those who realised the need to rely on more than visuals managed to give the right answers. Also, it turned out how even when it can be misleading, visual information is still heavily used to establish context and characters.

Artefact 5 turned the attention on the dangers of downplaying the importance of context for the sake of comedic appeal, especially in parodies (the specific case of Hitler and Nazi Germany). The context into which the public find themselves, it was argued during the course of an interview, is extremely important. It relates not only to pressure from our peers, but also to the note in which we choose to receive messages (comic, moblising, moralising, etc).

Artefact 6 finally tested these assumptions by making respondents fill out a questionnaire while listening to recorded audio samples from varying contexts. Their perception of the message was heavily influenced by ambient.

Artefact 6 Evaluation

2011-05-07T21:09:00.002+01:00

For this artefact, two monologues were compiled from stand-up routine excerpts. A few lines from Nazi speeches were slipped into the text. A first group of respondents read the monologues highlighting any lines they found out of place within the general tone and context. A second group read the monologues while listening to different audio sample (these were to provide the context and style in which the monologues were presented). The aim was to explore the ways in which a certain context shapes our reception of the comedic content and delivery. They were meant to test some of the presuppositions voiced within the previous interview.

Group 1 focused on the text and they identified some of the rogue excerpts. They also found some comedy excerpts to be overly aggressive for their declared purpose.

One of audio samples presented to Group 2 was an interview recorded in a studio and had no background noise. The slightly inciting tone of the speaker in the studio interview made respondents associate the monologues with an agenda, unlike those reading it while listening to other audio samples (lecturer, comedian).

The impact of a single persistent background noise (a saw) audible in the second interview shaped all responses:

1) It created an uneasy atmosphere, made the speaker look nervous, as if saying something subversive.

2) Seemed like criticism within the rules of the system, maybe a union leader`s speech (although the tone wasn`t passionate enough at times)

3)The subject of an exhibition depicting a community. Emphasis not on the monologues (which sound like unfounded opinions) but on his dissatisfaction with his place

Identifying potentially violent discourses (especially given the use of aggressiveness on stage as part of an act) depends on the speaker`s involvement and the agreed context into which the content is delivered.

Artefact 5 & 6 - a new perspective

2011-05-04T11:47:00.002+01:00

For the last two artefacts, I decided to go slightly beyond the field of comedy into oratory in general, and political speeches in particular. It occurred to me that there is something peculiar about the way parodies of one of the most reviled characters in history (Adolf Hitler) are made.

There seems to be little need for artistic license in parodying Hitler. And there is almost a feeling that those portraying the dictator want us to see this, as if to say: `we don`t have to try hard, the man does most of the job already by just being himself ` .

I think this is rather misleading. In terms of stage persona, the Nazi leader obviously had an outrageous, larger than life appearance; but the interpretation of this stage persona could not be as obvious to its contemporaries as today`s parodies would have it. The film The Wave is a good example of what I`m trying to get to:

The last two items then can be said to look at the possible traps that comedy can land us into. For the sake of making us laugh, matters can be trivialised and taken out of context. So let`s look into what builds our context as an audience. What are you prepared to hear when you sit down in front of your TV, in a theatre seat, listen to the radio? How does the environment, the people around you, their reactions, the reason why you are there in the first place affect your perception of what the person on stage is trying to say?

Artefact 5 Evaluation

2011-05-03T21:01:00.001+01:00

Artefact 5 was generated by observing the fact that, of all the parodied characters, the one for which comedic exaggeration is least required is Hitler. To test this, I interviewed Adina Huma from The University of Plymouth, specialising in Discourse Analysis and asked her to watch a collage of an original speech of Hitler, a cartoon version and a Monty Python sketch.

http://www.youtube.com/watch?v=tzs6rMqwRJg

She thought that indeed, the cartoon and the sketch had only slightly exaggerated the stage persona of the original. Even for the cartoon version, which seems to present a raging lunatic, there is evidence of a similar behaviour on the part of the original "His oratory used to wilt his collar, unglue his forelock, glaze his eyes..."(Janet Flanner for the New Yorker).

Since the rendition of the character in terms of tone of voice, gestures, mimicry, body language was similar, the next question was how come one version produced laughter, while another was a stern reminder of past atrocities.

The interviewee remarked that in its original context, the speaker`s ability not only to articulate the anger of its audiences, but actually recreate it on stage (“People feel it, but don't articulate it... Hence, if you don't become one of them in your articulation of it, you can't convince them that that is the truth.”). The response is visceral; the speaker`s engagement with his subject is played out rather than argued.

There is a catch with this ridiculing of Hitler, in the sense that placing the character out of context easily turns him into a loon and acts as a sort of eulogy of today`s individual who feels he would never fall for someone as ridiculous and outrageous.

Artefact 5 - abort and redo

2011-04-30T20:04:00.042+01:00

Artefact 5 has proved to be quite a pain. I have made the animation but decided to redesign the artefact from scratch. I`m going to do an interview instead but before I explain why the sudden change, I`d like to take the time to explain some things I did gain from the experience of making the animation.

Having to draw and animate, both processes involving significant amount of time, even for a short and very basic project, makes you boil down your message to its essence. You think about what is really crucial in getting your point across because you don`t want to waste time working on details that add nothing to the final work.

If you have the additional problem that I do of not being skilled in drawing, you`ll also have to consider how `simple can be better`. Simple drawings, simple actions, cut to the chase in a few frames.

The theme was `people who project their personal beliefs unto random patterns discovered on everyday objects`. The main inspiration came from the Mitchell and Webb sketch I posted earlier, but there are a few other sources to look at:

So, why the sudden change? I just felt that although the subject was interesting, I was straying from the central point of my argument right at the end of the project. This research project`s aim was to examine how what performers do on stage, their delivery as a whole, affects how the audience understands the underlying message. The focus is on different aspects of a performance, and animation is in a way, in a league of its own, especially when it doesn`t rely on anthropomorphous characters and doesn`t use recorded voices.

Instead, I have arranged for an online interview on the subject of discourse analysis, using a video collage as a starting point.

Artefact 5 conundrum

2011-04-25T21:15:00.004+01:00

I`ve had trouble deciding on what the fifth artefact should look like. First, I thought I would look at animation, on how a comedic content delivered not by a live performer but by animated characters influences the audiences` perception. More specifically, I wanted to see whether a comedian could get away with an outrageous view on a sensitive topic by dressing his argument up in the clothes of animation.

Initially, I looked for some examples. I found a few sketches from That Mitchell and Webb Look which were done using animation.

An sketch parodying a very modern day obsession called `interactivity`. In an unrelenting quest to find out what the viewers think, TV shows have become less and less reliant on delivering and uncovering facts, but have morphed into a narcissistic exercise for the masses. It`s all about what YOU think, and YOUR opinion is important to us (irrespective of whether it is an informed one or indeed, if it is relevant to anyone else except you).

Corporate ethics...rrrright! Improving our record day-by-day (disclaimer: not really!)

So, I decided to do a short animated sequence inspired by the following sketch:

Things to consider:

a) how to translate the message of the original sketch into an animated form (since the animation will not be an exact replica of the filmed version)

b) what does animation bring to the comedy table?

c) seeing that I won`t be able to record voice actors, how can animation compensate the lack of paraverbal cues?

Artefact 4 Evaluation

2011-04-15T22:27:00.002+01:00

The immediate aim of the artefact was to make users resort to paraverbal and nonverbal signs in order to identify between a true and false scenario where the visual information was the same. The indirect aim was to observe how the impact of what the performers say depends on the impression these performers leave on their audience through the way they present their message.

When asked about the plausibility of the two scenarios, respondents found both could pass the test. The correlation between subtitles and actions on screen was sufficient, but when it came to guessing which of them is an actual sequence from within a film, the audience`s arguments for their choice started to fall back on paraverbal signs. They worded their arguments like this: `[that character] “sounded” embarrassed`, the way they spoke, it wasn`t aggressive but calm...`

Those relying solely on visual information and subtitles chose the wrong version. They focused on pattern recognition, i.e., similar scenarios played out in gangster films and consequently interpreted the following scenes to fit that scenario.

The artefacts so far looked at how different components that make up what Hodgart termed the aesthetic dimension of comedic performance contribute and influence the audience`s understanding. For the following artefacts I want to look at why parodies of Hitler seem to need less use of comic exaggeration than other historical characters and how does that affect the efficiency of the comedian`s criticism.

Artefact 4

2011-04-07T22:51:00.028+01:00

As I mentioned in an earlier post where I talked about the meaning of gestures, I wanted to do a second experiment that would encompass this side of a performance. Only, the way I did it this time, was to choose the same performance (a segment from a film) and, taking advantage of the language barrier, write an alternative set of subtitles that would fit the scenario. This way, hopefully, I could focus the respondents` attention on nonverbal and paraverbal cues. The scenarios were quite different; the original one was of two guys trying to blackmail and humiliate a barmaid in order to get free drinks; the alternative version re-cast them as thugs, coming for protection money.

It should be interesting to note:

a) whether judging by the gestures and tone employed by the actors on screen, the audiences will find both scenarios plausible

b) if they will find it hard to tell which one is the original version

c) whether or not they will identify the importance of paraverbal means in their choosing the right version

Artefact 3 Evaluation

2011-04-02T23:43:00.001+01:00

The aim of this artefact was to gauge how the attention of the audience can be maintained and directed strictly through the use of audio means. A sketch especially conceived for this purpose was recorded and played to two focus groups that had no previous knowledge of the subject or characters of the sketch.

There were difficulties in deciphering the content of the sketch as well as identifying the characters. A number of cues and supplementary questions were asked in order to aid the audiences understanding. Asked to picture the characters, they could identify the broad picture, but didn`t make connections between the verbal and the paraverbal initially. Asked to describe the plot, the first group was much more effective, while the second group complained about the poor acoustics of the room and needed two re-runs of the material to get even a basic understanding of the subject. They also mentioned receiving the content in a fragmented manner (“I would hear the odd joke”).

The focus of the participants’ attention seemed to lay on getting an overall picture of the plot and characters from listening to the dialogue, which they would later (presumably) flesh out with the aid of visuals. Given the lack of visual aids, the only source of supplementary information would have been paraverbal cues. As one respondent noted, our current reliance on mainly visual information has made audiences relatively desensitised with regards registering the subtle signs provided through paraverbal language. The next artefact will look at a specific situation in which audiences might voluntarily rely on paraverbal language to distinguish between a genuine or a false message.

Artefact 3

2011-03-26T22:00:00.042Z

Artefact 3 gave me the possibility to go beyond the process of theorising and actually getting to experience some of the aspects I was interested in first hand.

Taking a keen interest in recordings of stories, books, plays and comedy sketches over the years, I was very much taken with the amazing capabilities of the act of speaking, from vocal timbre to the art of paraverbal communication. Although initially I had planned to ask students active within the Drama Society to perform the comedy sketch I had written for the purposes of this research, I ended up doing it myself, accompanied by a friend who had no previous acting experience. I told myself, performing the material will force me to be aware of the nuances and ultimate difference even a slight change in the interpretation of the material might have.

Another interesting thing to observe was the negotiation going on during the recording of the material. I remembered the statement of a comedian about how as the author of a routine, the only way to avoid getting so bored with your material as to affect your performance was to try new ways of delivering it. Indeed, our characters also underwent significant changes. Some of these changes focused on different dominant features for a character; others focused on reactions to another character`s line without actually changing the script.

Here is the script:

"(the sound of papers and pens being re-arranged on a desk)

NIECE: I keep telling you, uncle...anybody who is anybody is up there, on billboards, the internet or at least the local radio. It`s the only way one can survive on the market nowadays...

MR. ROTH: Well...if there is anything that could kill a long-running profitable crematorial business, it`s survival!

NIECE: Fine. Crack your jokes now but you won`t be having half as much fun when the bills roll in.

MR. ROTH: Threatening me with a doomsday scenario, are we now?

NIECE: Anyway...look, what I`ve done is I`ve posted a job ad online for a marketing position. I mean, these guys know how to sell the useless crap that gets people here in the first place. So, they might as well sell th

e idea of a person`s last shopping spree.

MR. ROTH: Shop till you drop! Hmmm, I like that idea...

NIECE: Sooooo...being the ever helpful niece and all, I`ve already sifted through the CVs and have arranged for an interview tomorrow.

MR ROTH: Uhm...but...

NIECE: Ok, so we`re settled then. (mobile beep) Oh, gotta run now, good luck tomorrow!

MR ROTH: Uhm

NEPHEW (just as he is about to disappear behind the door) Oh, and uncle...tweet me the results, will ya?

MR ROTH: Hmmhmph!

Next day...

(knock on the door)

Mr Roth opens door...

MR ROTH: Good afternoon!

LOLA: Well, hello! How d`you do?

MR. ROTH: Please, come in. Take a seat.

LOLA: Thank you!

MR ROTH: So, my neph...ahm...my associate told me you had a most flattering CV to recommend you.

LOLA: I believe my references are my forte...

MR ROTH: So, missus...

LOLA: Cocteau! Lola Cocteau!

MR ROTH: Oh...what part of you is French?

LOLA: Whichever part you might is needed..

MR ROTH: Well, then...should we start?

LOLA: Certainly...

MR ROTH: Tell us a bit about what you think you can do for our business.

LOLA: Oh, I see. You want us to use the lingo. Very well. After many years of working directly with people –in professional settings, naturally - I decided to employ my experience in a customer service position within a company.

MR ROTH: I`m afraid there`s been a misunderstanding. We are looking for marketing people. My neph...my associate argues that our services need to be more visible on the market.

LOLA: I know that full well, Mr Roth. Except, my approach is as follows: no point in being in the limelight if your...customer service isn`t up for the job...if you see what I mean...

MR ROTH: Certainly...I mean, we`ve always thought that doing a good job will be the best advertising but...you know...people can be very touchy about these kind of things...

LOLA: I understand you perfectly, Mr. Roth. Just a case of `the love that dare not speak its name`.

MR ROTH: Mmm...I`m not sure our clients are too concerned with romancing.

LOLA: Then again, neither are we. Everybody`s in it for the money.

MR ROTH: True. Before we go on, I have a confession to make, Mrs Cocteau...one of the reasons I hesitated about this whole marketing thing is that I have many a time been given the odd look from people because of my job and the nature of my interests.

LOLA: Oh, I think we both share this experience. I mean, people are just so judgemental, not to mention hypocritical. We know everybody`s doing it...even those who preach so strongly against it. Believe you me, deniers are actually the most obsessed with it.

MR ROTH: Yes, I was under the same impression as well. And by all means, it`s not like we urge people to do it, it just happens and so, what we`re saying is, let`s make sure that at times like these, when we are overcome with sentiment, some things are taken care of by conscientious people like you and me, who are able to hold a stiff upper lip and do what needs to done.

LOLA: You speak from the heart, Mr Roth.

MR ROTH: From its deep and dark recesses, indeed (chuckles).

LOLA: Can I ask you a few questions?

MR ROTH: Go on...

LOLA: This is about the online ad. It didn`t make it clear, what are the basic prerequisites that you demand of your clients?

MR ROTH: We just make sure they`re stiff before they`re sent in.

LOLA: Oh, Mr Roth! Finally, a company that has high standards, not only in terms of their own work force, but of their clients as well!

MR ROTH: `Tis well understood, I should think. I must talk to my associate about the phrasing of that ad.

LOLA: And...what are the...`credentials` of the girls I`m going to be working with?

MR ROTH: Well, actually, we have a mixed team in our company. The gender distribution is fairly equal and of course, we did our best to provide equal opportunities for minorities.

LOLA: Oh, you never cease to surprise me Mr Roth! I must admit I haven`t yet had the experience of working together with such a colourful team.

MR ROTH: You need not worry, ma`am. All our employees have been with us for many years, we have established strong bonds with all of them....

LOLA: I bet you did, Mr Roth...

MR ROTH: ...we are like a big family. We love our job and whoever helps us keep the business afloat will be welcomed.

LOLA: That sounds lovely! I find myself simply enthralled by the alluring picture you`ve painted of your company.

MR ROTH: I`m very glad. I say...how about we forget the formalities and I show you around. Just so you get to know everybody and learn the ins and outs of the company.

LOLA: Wonderful!

MR ROTH: Now, I must warn you before we proceed, that even though I`m sure you are a professional and are somewhat familiar with the scenery you are going to be introduced to, the imagery might still come across as upsetting.

LOLA: I can take it, Mr Roth. Whatever it is, bring out your dead!"

Artefact 2...a few more thoughts

2011-03-19T18:39:00.102Z

While thinking some more about how gestures and appearance build up a stage persona for the performer, I came across an interesting source about Body language in film. As I read through it, I decided to look for photos and recordings of stand-up performances to see how the respective comedians applied some of these `tricks of the trade`.

`From antiquity to the eighteenth century the theater created models for the bodily carriage of masters and slaves. Vulgar servants keep their knees bent, legs spread apart, backs hunched, arms akimbo, heads lowered. After the 1917 Revolution Soviet poster art straightens the backs of workers. Soviet painting, sculpture and cinema are soon to follow. The hunched back is now reserved for the losing class, epitomized by white officers[...]

Calm, measured steps and a proudly raised head distinguished the man of power. Only people of low social status—servants and slaves—were shown rushing about.`

I think it highlights the complicity that the performer tries to establish with his audience, casting himself as one of them (the oppressed, the discontent, the little man, even the clown). It`s a reassuring `it`s OK to make fun of THEM, I`m one of you`. Although some comedians treat their audiences with a certain degree of contempt, and claim to distance themselves from both the object of their critique and their audience, the trust and attention the performer receives still rely on the notion that `we are making fun of someone else`. When the comedian will point to its audience or specific individuals, a projection of guilt still occurs. It is thus rather difficult to be funny and make a point about how the audience should accept that they are part of the problem as well and take responsibility for their actions. When comedians try to do that, a change of tone occurs and an element of preaching comes into play. The only difference between an ordinary rant and a comedy performance in this case, is that the tension accumulated as the incriminatory arguments build up, is released at times by punctuating the discourse with punchlines.

Another fragment that grabbed my attention was this:

` Opened and closed palms carry significant nuances of meaning. A closed fist is associated with danger. An open hand appeals to the world, signifying trust or a question; the palm facing away from the body suggests rejection, palms facing the body are a sign of invitation and welcome.

The teacher moves his hands up and down with his palms facing his listeners.

Lords make the same motion with their palms turned inward. The tyrant raises his hand with the palm facing the ground...`

Interesting to follow:

Body language and gestures are still a very fascinating field of inquiry that could help the research topic. I`ll have to think up a context in which viewers would need to pay close attention to it in order to decipher the message of the performance.

Artefact 2 Evaluation

2011-03-15T14:12:00.003Z

Artefact 2 was concerned with testing how the performer`s appearance and bearing on stage directs or distracts the audience`s attention from his argument. Participants were given a transcript, an audio and a video version of a segment and asked to specify the subject of the talk, their perception of the character whose role the performer assumed on stage, and to rank elements of his performance (nonverbal and paraverbal) throughout the three stages.

Results showed that every single respondent described the comedian`s argument differently. Even when some similarities did emerge (politics and lying, imperialism), what respondents felt the comedian lay emphasis on in his routine differed.

The ranking of paraverbal and nonverbal means of expressions revealed that in the piecing together of the performer`s image, vocal cues play the role of the adjectives, which are then attached to the noun that is provided most strongly by the visual impact. For instance, words like “smug”, “sarcastic”, “moralistic”, “guilt-ridden” and “disappointed” have all emerged after the audio recording, followed by labels attached to the subject: teacher, eye-catching performer, history teacher.

Another interesting aspect the experiment has revealed is that most respondents were tempted to contradict their previous responses after seeing the video version, showing that they trusted their eyes more than their hearing in giving their verdict, despite the fact that the bulk of their initial information was provided by the audio version.

Artefact 3 will leave out image in favour of sound. The characters will be fictional rather than known performers. The objective is to see how well can performers gather the audience`s attention and direct it towards the points they wish to make within their material. The subjects will have no prior knowledge of the theme of the sketch or its characters.

Artefact 2 - Read, listen and...be amazed!

2011-03-02T19:03:00.000Z

Long time no post, but I`m back as a bad case of [place here name of recurring and obnoxious infectious disease]!

For my second artefact, I decided I`d look for a more layered research. Instead of asking people to consider things like gestures and facial expressions, I forced them if not to observe them more closely, to at least realise how important they are within a performance.

Here is the questionnaire:

As part of a research project which looks at the effects of delivery on audience response to comedic content, the following questionnaire is to be completed in three stages. Firstly, you will be asked to read through a transcript, answering three questions. After that, you will listen to the audio and video version and add any further comments or observations using a different colour font.

STAGE 1

Please read the transcript you have been handed out and answer the following questions.

What point does the performer make?

Solely judging by this transcript, what nonverbal or paraverbal means of expression would you imagine he would mostly rely on? Please use a scale from 1-8, with 1 being the most important means of expression, and 8 the least used. If you think some of the options listed have no relevance whatsoever in the performance, grade them with 0.

Gestures
Body language
Voice acting
Impersonation
Facial expressions
Props
Tone
Emphasis

Whether consciously or not, the performer projects an image of himself to the public. How would you describe him? (use 3 words).

STAGE 2

After listening to the audio recording please write down any additional observations or changes you might feel have occurred in your perception of the performer. Use a different colour font.

STAGE 3

After watching the video version of the performance, please comment on the evolution of your answers throughout the three stages.

Artefact 1 Evaluation

2011-02-04T16:21:00.000Z

Artefact 1 presented 5 respondents with 4 renditions that dealt with the topic of nationalism. The aims were:

How close is the message the comedians wish to put across to the public to what the audience really hears.
What is the interaction between the public and the performer. How does the latter try to influence the former by inducing feelings of outrage, embarrassment, etc and – on a second note – how does the public shape a comedian`s style.

The respondents formed a consensus around questions dealing with the performers` arguments, their method of delivering them and which one they found the funniest. However, questions centring on performer and audience interaction have generated varied answers.

Three respondents remarked Hicks` pronounced verbal and gestural aggressiveness towards a specific outer group, inciting the audience to share in the revolt. Another interviewee described him as the angry man inside a glass box, shouting out his views because he is used to them falling on deaf ears (a surprisingly accurate remark, biographically speaking). The last respondent found his style off-putting and incomprehensible.

Four out of five respondents found Chaplin`s spoof of Hitler as an effective antithesis and a mobilising discourse for emancipation, with one of them mentioning the disturbing and contradictory feelings that the Nazi imagery evoked despite the uplifting monologue. A different response came from an interviewee who considered the act as depicting not an antithesis, but rather the cynicism of the dictator, who promises to lead the flock out of their slavery, precisely by offering freedom.

Everyone found Maher to be the funniest, although they`ve thought his delivery was classic punch line humour. Asking supplementary questions emphasised the answer: his timing, rhythm and the fact that his target was unproblematic. An outer group, treated with disdain but not in an aggressive manner. The element of introspection is overridden by the joyous laughter that simply separates `us` - those laughing – from `them`, the subject of our laughter.

What I want the audience to focus more on in the next artefact is how much does the performer `s stage persona influence what they `hear`. This is why I have chosen a more out of the ordinary comedian, who does present himself, as much as outer appearance is concerned, as an eccentric character, yet his verbal delivery is quite the opposite. His name will not be disclosed beforehand and the chosen audience this time will have to be unaware of the comedian`s appearance. They will be given a text version, an audio only version and only later, after completing the questionnaire, the full video version of the routine.

Artefact 1

2011-01-29T19:36:00.000Z

COMEDIANS ON PATRIOTISM, NATIONALISM AND SYMBOLS

The video montage you are going to be shown contains fragments from the routines of three stand-up comedians (George Carlin, Bill Maher and Bill Hicks), as well as a fragment from Charlie Chaplin`s The Great Dictator. All of them express personal views on the issue of patriotism, nationalism and its symbols. After watching the entire video montage, please answer the following questions, on a separate sheet.

1. All of the featured comedians express their views on the topic of patriotism, nationalism and respect (or lack thereof) for its symbols. What exactly is their main argument of each one of them to support their view?

2. What do you think were the techniques employed by each comedian to present their argument (fictional characters, comparisons, hyperbole, spoof, etc)?

3. Having considered their techniques, what emotions and reactions do you think does each one of them wish to stir up in their audience?

4. Whether consciously or not, all of these performers project an image of themselves to the public. How would you describe each performer? (either as a character, or using 5 words to describe his persona).

5. Which of these renditions do you think delivers the funniest point on the topic and how (through the content of their argument or through word play, facial expression, body language, etc)?

This is the questionnaire I`ve been handing out to small groups of guinea pigs....sorry...participants...still waiting for a couple of more answers in order to write up my evaluation of the artefact, but the responses so far have been interesting and varied. Also, have a prospective second artefact coming up...

Razzle Dazzle me (the story of how wit saved the outspoken one`s bacon) part 1

2010-11-02T18:39:00.000Z

...also known as my Personal Research Project in its tamed and user friendly version. This is what it`s about:

What are the tools employed by the (on-screen) satirist for delivering his views on sensitive topics and inconvenient truths to its audience?

The main focus of this research is to look at what Matthew Hodgart has called the “aesthetic value” of satire. According to him, the sometimes harsh social criticism or mockery that satirists employ to get their point across, would be perceived as being a gratuitously offensive rant, or, simply indistinguishable from everyday political discourse or journalism, if it weren`t for its propensity of creating dramatic alternative worlds, larger than life characters and absurd situations, all through intense dramatisation of commonly accepted facts.

By adding this aesthetic touch, the satirist delivers to his audience alongside the aggressive, shocking or controversial side of his performance, a slice of pure delight, caused by the way in which the material is delivered (flow, tone, facial expressions, timing, props used, characters and caricatures) and is independent of the nature of the issue that is being presented. It is an appreciation of the technique, so to speak.

And in terms of technique, satirists, drawing from a rich and varied history of their “trade”, come in all shapes and sizes (prop comedy, ventriloquism, musical satire, sketches, etc).

I would like to look at these “tricks of the trade” in conjunction with some of the more sensitive issues that comedians choose to include in their work. Which of its audiences most deep seated emotions or experiences does he tap in to for building up the imagery, the sound and feel of an argument, in order to provoke not just shock, indignation, but most importantly, a burst of laughter that no opponent of his views can deny him. Laughter is the highest form of honesty.

How can something so bad, feel sooo good? part 2

2010-11-01T18:49:00.000Z

Basically the same video, with some adjustments made after getting some feedback during a tutorial. I have changed some of the fonts to make them more visible.

How can something so bad, feel sooo good?

2010-10-22T20:18:00.002+01:00

...or as formerly known `But Everybody`s Doin` it!` is one happy finished project, nestling in its comfy Youtube space now.

Voila!

After the first rough cut, it took me a few days to figure out what was missing...I still don`t know if I`ve really found that elusive something (but then again...we never find THAT elusive something, do we?), but I am quite pleased with the freeze-frames stylised to look like 50s advertising posters. I hope I captured the spirit, I tried to use as a guide Robert Opie`s 1950s Scrapbook.

I know this has turned out rather ambiguous and cheeky, having a laugh at the overly dramatic seriousness of classic digital piracy ads by using the cartoonish chase seen music and the posters are only re-enforcing the irreverent atmosphere of the whole piece...but then again, it`s supposed to inform, not judge. And observe and inform it does...the vast majority of people have this ambivalent `let`s not and say we did` attitude towards the subject, hypocrisy is oozing out of everyone`s pores and we are, willy-nilly, surfing treacherous waters in our search for our favourite online commodities.

Technical details:

Compressed file has some colour loss but there doesn`t seem to be any major issue with the uncompressed video (have tried it on three different players) altough I`ve initially had some issues with subtitles not showing up on the screen for the introduction sequence.

Also, not entirely sure about the final Hyde-Jekyll transition, the morphing might be a bit...well, a bit spooky for the overall tone of the work (or maybe it`s just me seeing it like that). Might think about having different sequences for the morphing, some that are more similar so that it doesn`t look like something out of a sci-fi film.

But Everybod`s Doin` it! part 3

2010-10-16T21:50:00.000+01:00

Busy day today...just finished capturing some of the laptop screen images (download progress bars, illegal download searches bla bla bla) and thought I will have a go at the simulated 50s style. Slightly desaturated colours, with the exception of reds and magentas, a bit of grain, a double yellow filter and a vignette effect.

Here`s what it looks like:

I think it does the job pretty well, so I`ll probably stick with these settings for the final edit.

I wanted to include my storyboard as well, but realised I am not yet ready to be the butt of all jokes because of my sloppy drawing. They are working documents and I won`t let them see the light, no sir!

But Everybody`s Doin` it! part 2

2010-10-16T17:08:00.000+01:00

Day 1...it appears there will be a Day 2 as well, since the weather has been rather capricious today.

But first things first...

I`ve got my hands on a Nikon D80 camera, have been delighted to try it out and now at least I know that watching all those photography tutorials throughout these years has not been a waste of time. After I got the camera yesterday, I managed to learn how to handle it pretty decently in a few hours, so, a big thank you to YouTube and all the nice people who make tutorials and share the knowledge.

Problems: sunny...cloudy...sunny...cloudy...I know what you`re saying: `But Diana, that`s what those settings on the camera are there for!` Yes, indeed...but even when you know what to do (change aperture, shutter speed, fiddle with the EV)...it is still frustrating when you have to do it every 2 minutes, while also trying to direct your subject, trying to keep continuity notes and change focus because of the movement.

So, I`ll probably have to play around with a few individual frames in Photoshop, adjusting lightness and gamma. But hey! who cares when I had so much fun.

Almost feels like a pity tampering with the colours...I`ll give it a try though, that`s the fun fun fun of experimentation, isn`t it?

Now, for some of the close-ups...I love depth of field!

And now...la piece de resistance! The macro shots:

There has been a slight change of location as well. Although, it is still within the University Park campus (where we got the permission to film), it is around the Lakeside Cafe, instead of the Student Union one. Some wonderful vanishing points and quite the view really, on and off camera as well. Thanks to Roxana for the scouting...

Just a case of red tape

2010-10-13T19:34:00.003+01:00

Right, after Tuesday`s tutorial, I`ve been reminded about how we homo sapiens like to wrap ourselves up in red tape. Yes, you`ve guessed it (my imaginary blog visitor and maybe-perhaps-but-what-am-I-hoping-reader), it`s time for some bureaucracy...or as they call it in the business...PRODUCER stuff!

So, seeing that I want to film on University Park campus, I sent out emails asking for permission...I hope I do get an answer by the weekend.

Next on the list of excruciatingly dull things to do: reading up on licensing from Freeplay music. What an incredibly titillating, yet misguiding name.

They have some `interesting` price lists, I`ve given a look at some that might come in handy in the near-future.

I know....rrrrrrrrrrrrrrrrriveting, isn`t it?

But Everybody`s Doin` it! part 1

2010-10-13T19:22:00.000+01:00

Tadaaaaaaaaaaaaa! Here is my Simulated Client Project proposal (yes, I could crack a few jokes about "simulation" in Romanian, but I won`t).

BUT EVERYBODY`S DOIN` IT

(Working title)

CONTEXT AND MOTIVATION

`But Everybody`s Doin` it` is a short stop-motion animation about young peoples` attitude towards the subject of digital piracy, and most importantly, to the censure it instigates in public debates. Its aim is to show how for young people, the possibilities the internet opens up for seeking, sharing, acquiring data of all kind, proves to be as irresistible as a candy store with no limit on how much you can take. Most importantly, it instigates a Jekyll-and-Hyde bi-polarity within an individual, as students contemplate (briefly) the moral conundrum of digital theft and self-gratification, only to then fall into temptation and continue downloading and sharing content. However there is always a justification for this, in each individual`s mind: `Everybody`s doin` it! `.

TREATMENT

The piece starts off with our main character, a respectable looking young woman who the viewer can assume is either a student or a junior staff member, casually strolling out of a café with a cup in her hand. She is having a break and after finding a nice spot, sits down, takes out her laptop and begins typing. The camera closes in over her shoulder to reveal the pages she is surfing. All of them seem so tempting: a song she really likes on YouTube, that DVD on Amazon. Sure enough, after a few seconds of pondering, she looks around with a guilty look on her face, to make sure nobody is watching. As this happens, an IM window pops-up on her monitor with the message `come on, everybody`s doin` it`, as if to say `don`t be silly, we all know what you`re about to do, we all did it`. Relieved, she starts clicking away on the download buttons that appear on her screen. Progress bars run to completion like mad, and as all of this happens on her laptop, we can see short glimpses of the young woman, slowly undergoing a metamorphosis, turning into a Hyde-like character, with a mad grin on her face, dishevelled hair, make-up stains and more rugged clothes. Her gestures also become spasmodic. The animation stops as there is a fault in the internet connection and everything reverts back to normal, as if in a dream.

STYLE AND RHYTHM

The reference to R.L. Stevenson`s work would normally bring to mind a Victorian setting. Yet, what I have in mind is another era of split-personality with regards morals and desires: the 1950s. Thus, the animation will have pale, delicate colours (baby blue, light yellow, candy floss pink, etc), with the exception of the intense red (see sample picture).

As the metamorphosis happens, the colours will be even more desaturated, until almost black and white.

The rhythm will be even and rather slow until the character`s transformation, after which it will increase to suggest the frantic nature of the search for `booty`, reverting back to the initial tempo right at the end.

LENGTH

The estimated length of this piece is 2-3 minutes.

LOCATION

The location of choice is University of Nottingham`s park campus, outside the café (see sample pictures).

MUSIC

The sound will reflect the somewhat carefree, happy-go-lucky feel of 1950s commercials. Prospective songs to be used from FreePlay.com are:

Summer Night Party

Duration: 2 minutes, 17 seconds

Composed by: Pierre Langer, SESAC (50%), Scott P. Schreer, BMI (50%)

Published by: Dynamedion Publishing, SESAC (50%), Freeplaymusic, BMI (50%)

Lucky Sun

Duration: 2 minutes, 1 second

Composed by:Pierre Langer, SESAC (50%), Scott P. Schreer, BMI (50%)

Published by: Dynamedion Publishing, SESAC (50%), Freeplaymusic, BMI (50%)

EQUIPMENT

SONY Powershot Camera

ARI Lighting set

Reflective shield

Tripod

R-09 Edirol (for sound effects recording)

COSTS

Travelling costs from Peel Street-Nottingham University Campus: 20 ₤

Food and refreshments for crew and actor: 20 ₤

Make-up: 15 ₤

Time (mis)management part 2

2010-10-11T12:14:00.000+01:00

Right...so it seems I may have gotten a few deadlines wrong. Here is a corrected Gantt Chart.

I`m keeping the old one as well though, just in case...

Time (mis)management

2010-10-10T14:40:00.000+01:00

Ho, ho, ho! The third year is here to be enjoyed, dreaded, feared, hated, loved, cuddled, kicked in the back of your drawer...fun times, and just what the doctor ordered, too!

Now, to inject a bit of sense and muffle the somewhat loud screams of desperation from final year students, they have asked us to do a grunt chart...I mean, a Gantt Chart (grrrr!) so that we can afterwards go to sleep peacefully, thinking we have managed our time and evicted chaos from the chambers and corners of our mind. Well, let us indulge in this illusion for some time now, since autumn is the best time of the year for dreaming...and lethargy :P

(Un)title(d) sequence part 4

2010-04-15T15:01:00.000+01:00

(Un)title(d) sequence part 4

2010-03-19T11:53:00.006Z

Back to the title sequence then...

I decided to make a compilation of my scribblings on the subject, and here is a scheme of the things I thought 12 Monkeys is about, or the aspects I would like to highlight in the title sequence, including visuals elements.

I have also done some sketches in Photoshop, and I am thinking about whether or not to use still images, with panning camera motions in After Effects, or whether the ink blots (Roscharch test) are going to be animated somehow.

Clientology part 1

2010-03-15T22:51:00.000Z

First of all, this is going to be a rather incoherent post...in order to start seriously thinking about some of the things assigned in the task for next year`s Client Project, I`ll have to have a really serious inner dialogue to get an idea of what I want to do, and according to that, where should I start looking for clients. Now, browsing through film and documentary festivals pages has been a good thing regardless of my still confused state of mind, you never know what might give you ideas...but, I will be back with more on this topic...

Art By Chance (Ultra Short Film Festival)

The reason Art By Chance caught my attention was because `the selected short movies will be presented to the public through advertising screens instead of movie theatres [...]Viewers around the world will have the opportunity to watch the best festival movies free of charge and within the course of their daily routine`. All submissions must use the given theme as a backbone of their work, which last year has been the idea of a journey, and this year, is that of time. Films must be 30 seconds long or less excluding the title and credits. Deadline: 26 March.

Sheffield Documentary Festival

Unfortunately, the deadline for this is before November, so no chance really to be considered for next year`s Client Project I guess, but it`s good to keep in mind the event nevertheless.

Ah, and there is something else that might be useful I managed to spot on their page:

Submit a Session IdeaI - If you have an idea for a session you would like to produce at the festival - it can be craft-based, case studies, debates, panels or masterclasses, you can submit your idea to Doc/Fest. Online submissions for 2010 will open in March. (Hmmm...thinking, thinking...ideas...yes, I might have some of those...hmmmm)

CrossOver Labs

Multiplatforming, discussion panel and project that brings together people from various media to:

explore new techniques for developing multi-platform projects
encourage fresh thinking about interaction with viewers and users through user-centred design processes
provide a framework for the development of concrete projects and results in the building of pitches and early stage concept prototypes.

TO BE CONTINUED...^.^

(Un)title(d) sequence part 3

2010-03-09T17:04:00.004Z

ail to zeh Lindsey! Yes, we got ourselves a kick-ass title sequence...don`t know the state of the rest of the edit, but this bit is something to be proud of. So, a big thank you again in the name of the whole group for Lindsey (whooop, whooop!). Here is the link to her blog for the animated sequence.

Over the weekend, we have discussed the look and basic visual elements of the title sequence. A very lucrative session, since I got to see the main ideas I proposed included in the finished work, while Lindsey has made some very good stylistic decisions on her own while working on the actual thing. So, allow me a few moments of sheer pride, until reality comes slamming in once again (probably tomorrow...when we`ll have to face up to the crude state of our yet-to-be edit).

(Un)title(d) sequence part 2

2010-03-04T22:43:00.000Z

Today, after a chat with Lindsey, and after seeing some of the work she has done back in Belgium, I`ve decided that we`ve got ourselves our lady for a title sequence in our documentary. I had been thinking about a fairly brief one, maybe 10 seconds, just to introduce the title and possibly part of the credits.

I`ve first started doing some storyboards for the motion graphics, but I realised that instead of scribbling away thousands of notes on the side of each frame, I could just do a sketch in photoshop. So, voila!

Time(-machine)`s are hard...part 4

2010-02-22T23:17:00.008Z

Yesterday, I had a meeting with Michelle from the Nottingham Youth Orchestra, we`ve talked about the transitions I`ve done and I`ve got a chance to see the orchestra and the choir at work during a rehearsal (which is supposed to be good in making me feel the importance of my effort, or something along those lines...psssst, it was touching though!). All in all, everyone`s happy and looking forward to the concert on the 27th.

There are a couple of things they`ve suggested I change:

- no music for the transitions

- a couple more transitions, introducing Les Miserables and The Pines of Rome

- look for some pictures for the Planets, Rome and WW2 bits

- produce some fireworks for the 1812 piece (I`m going to use some Particular effects in Adobe AE, nothing fancy so far, I am playing around with the default settings, maybe if I get any wiser in time, I`ll try my luck at something more spectacular)

Having said that, today I`ve been in the studio again, helped by my lovely assistant...I mean, friend...Sam, getting on with the last two transitions. In line with the same theme of our now famous and lovable (yeah, right!) glass-headed traveller, here are the last two transitions:

Also on my to do list for this evening...learning how to create some (hopefully mind-blowing) photomontages, because nobody wants to keep it still and boring....right?

Time(-machine)`s are hard...part 3

2010-02-21T12:41:00.000Z

Two more of the lot...

Time(-machine)`s are hard...part 2

2010-02-21T01:33:00.000Z

An another one of the transitions...

This one is supposed to introduce the audience to the 18th century, with the discovery of the planet Uranus in 1781 by William Herschel. The piece that it introduces is Uranus, from Holst`s Planets. Basic idea, but I think it works well...our curious little clear headed friend meeting the man (i.e., Herschel) face to....hand!

Time(-machine)`s are hard...part 1

2010-02-20T21:58:00.000Z

I should have mentioned this when I had my first meeting with Michelle from the Nottingham Youth Orchestra, but I guess this will have to do now...

For the past few years, the Nottingham Youth Orchestra have given a concert at the end of February. They wanted to spice up the performance a bit, so they started a collaboration with Nottingham Trent Multimedia students. A theme is set each year, and this year it was Time travel/time machine, with each piece in the repertoire, corresponding to a certain time period, from the Roman empire, up to the WW2. Whatever I come up with (pictures, video, animation) will be projected unto a screen between the pieces.

So, here is what I`ve done. I started off with a very basic idea: present vs past. I initially thought of shooting models dressed in their everyday clothes, and then have them transition into costumes representative of each period. I have managed to secure most of the outfits via the Theatre Design`s course collection in Waverley, and arranged to film in a studio. All fine so far, until...surprise!...the human element made its way unto the scene...yes, I was let down by people (shocker!).

But, as it would seem, my muse didn`t abandon me, and thanks to a last minute idea, I managed to do part of the transitions required.

I have completed 4 of the 8 transitions, so at least, I won`t feel really bad about tomorrow`s meeting (which will be the first rehearsal with the orchestra).

Ok, so you might ask...what`s up with the glass head? Well, besides the fact that it looks a tad awesome, I thought I could play around with the idea of it being a spectator (not having a body, he can but be witness to the unfolding of images from the past in front of his/her eyes). And, of course, our perception of history is something strictly confined to the realm of the mind, as we cannot physically interact with it. Enough of the talking, here is one of the transition videos (I`ve only uploaded this to Youtube because it`s the smallest):

What`s up, DOC? The write-up (almost D-Day)

2010-02-17T21:57:00.000Z

Just a quick post on the write-up of the script for the Black Ice documentary...

I`ve started working on it today, and it`s going slowly, but at least I am fairly satisfied with what I`ve written so far (fairly...not really satisfied...just fairly!). Anyway, this should give us enough structure and a clearer idea of how to put together voice/idea and image and sound for our edit.

I`ve taken notes of some of the visuals I imagine for different sequences, but these are really only suggestions, and are meant to help me while writing to gauge the duration on the screen of a given segment.

Now that we`re fast approaching the disenchanting period of post-production, I am curious to see how many of the things went well and which went terribly wrong, because at some point, you get too caught up in the frenzy of the production to be able to step back and be rational and objective about what you are doing...so....fingers crossed!

What`s up, DOC? Day 4

2010-02-15T15:43:00.007Z

So, back to filming again, after a few days off. Today we had two interviews (we will call them THE interviews, seeing that so far they`ll probably be the only ones we`ll have for our documentary). Our interviewees:

Oliver Harrison - lecturer at Nottingham Trent University, specialising in political theory, political ideology and ecology.

Dr. Matthew Ashton - specialising in Media, Politics, US politics

For the setting, we went for a basic back background, three-point lighting, no fancy angles or camera movements. The main focus was sound, ensuring we could record without any interference, and just in case, the paranoid in me decided to record the interviews unto a R-09 as well. Better to be safe than sorry. As a side note, because the background is really basic, we might attempt to have something in the background added in post-production (although, for chroma keying, a green screen would have been more suitable...we`ll see what we can do about it).

Each of the interviews was around 20 minutes, with three main questions.

Black Ice Documentary

Interview (Oliver Harrison)

Q: In the second half of the 20th century, we witness a shift in our view of nature, of the planet.; from a relatively stable, self-regulating system upon which human activity has little, to no influence, to an extremely complex, interdependent and fragile whole. What caused this shift and what were the consequences? (in terms of media coverage, political action, scientific inquiry).

Q: Pollution and human activity incurring damage unto the environment are notions that have been around for the past decades, but the culprit a la mode, has been different from one period to another (nuclear tests, space exploration, acid rain, etc). Today, it is increased carbon emissions due to fossil fuels. How much of this is due to scientific uncertainty and its usual updates, and how much to politics (trying to motivate the existence of a cause/an ideology)?

Q: In the past decades, the environmental issue (and with it, that of climate change) has been through ups and downs with regards its `popularity`, depending on the prevalent political credo of the day (Reaganism), economic context (oil crisis). Does the 1992 Earth Summit mark a `change of heart`, with governments choosing to take the issue more seriously?

Interview (Matthew Ashton

Q: In the USA, the right wing has been notoriously hostile towards any political measures taken in order to reduce carbon emission. Yet, in other parts of the world, for instance in Britain, the conservatives have helped promote the importance of global warming. Why?

Q: The Wall Street Journal reported, "The global-warming debate is shifting from science to economics... The biggest question going forward no longer is whether fossil-fuel emissions should be curbed. It is who will foot the bill for the cleanup." Is green-energy turning into a big enough business to be `worth it` for capitalism to take up?

The day started off badly, with one of the lights burning out, with no answer from our interviewees and crew shortage due to personal problems. Nevertheless, we managed to get things sorted, and by the end of the day, I think we got some decent footage and certainly useful material in terms of informed opinions on the subject.

What`s up, DOC? Day 3

2010-02-10T20:43:00.006Z

I want a day like today, EVERYDAY!!!

Efficient, fun and busy! We were in the studios today, filming for the opening sequence, which has as its main theme `pioneers in the study of the greenhouse effect`. We are talking 19th century here, so the props we gathered try to reflect that. The lighting used was meant to simulate the idea of a candle-lit room, and I`ve done some shopping around for some of the items, and spent most of the evening yesterday filling the pages with equations and formulae on the subject, for that extra special something called authenticity!

Also, today I`ve managed to finally secure an interview for next Monday with Olliver Harrison from Nottingham Trent University, and got Matthew Ashton interested in the interview as well. So, with a bit of luck, we have to interviews in the bag for next week and counting (let`s see if our producer has any luck finding willing `victims` outside of academia).

The rest of the week and the weekend, it`s all about reviewing the shot list, see if there is anything else we need to schedule for next week for the B-Roll, finalise the script for the voice-over, and prepare the questions for the interviews....fun, fun, fun!

What`s up, DOC? Day 2

2010-02-10T20:22:00.003Z

Tuesday has been a fine day ...for walking across town! We have been zipping across Nottingham from one chosen location to another, from Hyson Green, to Alfreton Road, the river Trent and finally Arboretum. Most of the shots should provide visuals for concepts related to the Industrial Revolution (steam, coal, fossil fuel, hence, first significant emmissions of CO2 through human activity), and of course, the whole idea of the buzz of a modern city (again, powered by CO2 releasing fuel).

What`s up, DOC? Day 1

2010-02-08T23:37:00.006Z

First day of filming...

Actually, first day of filming together, as Joe has been capturing some of the shots we have discussed last week, thus successfully checking-off our shot list some of the shots from outside Nottingham.

We`ve followed the shot list for today, mainly in the city centre area, and then added a few more shots on the spot. I will try and review the shots and see what needs to be added (I have this most uncomfortable feeling that we haven`t planned for enough shots).

Anyways...tomorrow, another day out in the cold, this time going to Hyson Green and Broadmarsh station area. Hollie is trying to arrange for us to shoot from the flats near Victoria Centre, for the bird`s eye view shot, and I`m also trying to track down (hunt down, would be more like it) our interviewees. No luck so far, but we still have enough time.

Ok, to cut a long story short...animations by Joe and Production stills by Lindsey:

What`s up, DOC?

2010-02-08T23:01:00.000Z

No update for quite a while now...

What happened lately to my gratious self? Well, we`ve been assigned new groups for our next project, the 10 minute documentary. Our working title is `Black Ice`, and the process of getting the subject right has been interesting and subject to debate in the group. Originally, being my usual politics geek, I suggested having the use and abuse of the environmental issue by left wing and right wing party, green movements and corporate politics as our main guiding line, but given the complexity of the subject (basically, if you read through the lines....people found this stuff booooooooooring...sheesh, who would have thought?!) and the brevity of our documentary, it would be better to look for a different approach. So, change of plans, and the new (and improved) documentary is:

A tale of scientific fumbling, seasoned with cruel intentions to create one of today’s most sizzling topics, in other words…

A historical perspective on the development and transformations of the notion of the greenhouse effect and its consequences (global warming, climate change). The journey from a scientific curiosity to a hotly debated issue that has found its way into politics and popular culture.

Sounds sexy, I know!

Anyway...

In terms of visuals, besides the interviews and some B Roll footage that we`ll have filmed in a `realistic` manner, we have agreed to have some cut-out animations. Soud treatment will rely heavily on cartoony effects, to match the animated sequences, keeping the `realistic` tone in the adequate shots.

The crew:

Diana Sabau - Director, Researcher, Writer

Hollie Taylor - Producer

Joe Lau - Director of Photography

James Pratt - Editing, Camera Assistant

Hugo De Morais - Sound, Lighting

Lindsey Puylaert - Sound & Lighting Assistant, Runner

The big O

2010-01-27T22:39:00.003Z

Yes, do make fun of me as much as you like...but I have this dirty secret. I like my opera and my classical music every once in a while. I am one of those who mostly get it through recordings, but hey!...

So, it seems that one can work on THESE little babies: adaptations for the screen of operas or of classical music (a sort of video clip if you will). I know I should be more coherent and make a critical assessment of these, and I will try to sometimes later....but for now...it`s just....WOW:

How to rock your doc

2010-01-19T18:14:00.000Z

Since we have been assigned our groups for project 4 (producing a 10 minute documentary on a given theme) I have set forth to look up useful information until our first meeting this Thursday. It is a fresh start with new people and I`m looking forward to this new (sprained) `joint venture`.

I went looking for reading material to the library today, and started the hunt for useful video links. Here are some of the first findings:

Coverage: interview related shots, and B roll (a visualisation of some of the things your subjects talk about or reveal about themselves during the interviews. Ratio 30:1.

In the case of subjects that are not present on camera, use photos, stock footage, alternative methods of visual representation for what the dialogue or voice-over is conveying.

Memo: scripted, unscripted? Voice-over? I have a vague feeling that people would not be too keen on voice-overs, mainly because someone needs to write the script for it...which is something I`d be really interested in trying though (together with all the research that goes into....wooohooo!).

Release forms: make every person that makes an appearance or a statement in your documentary, sign a release form that gives you permission to use their contribution. If they don`t sign it, don`t include the footage in the final edit!

Location release: has to be signed by the person in charge of the location you are filming on. IMPORTANT: you don`t (generally) need any permission to film in a public space...

Two documentaries it`s NOT wise to miss out on

2010-01-18T12:12:00.003Z

Yes, my beloved and loyal blog followers (as I am sure there are many of you out there, listening to this voice of mine that thus does not resound like an empty echo!) I know I have kept you waiting for such a loooooooong time, post-less, seduced and abandoned by my enlightening, life-saving (if not giving) musings. BUT, fear no more...because your benefactor is back, and she has brought you (by the mercy of....herself...praises be unto her!) two documentary series you SHOULD NOT miss out on (at least, not those of you in the geek segment, which I`m sure you are plenty).

So, I bring you our old trusted friend and chosen practitioner for the SPP essay: James Burke (we`ll have a post on another project of his, Knowledge Web, soon). The Day the Universe Changed and After the Warming deal with Mr. Burke`s main theme (or obsession...but the good kind of obsession): how technology is influenced by changes (societal, climate) and how in turn, it triggers changes that act as feedback and here we are going round and round in an ever expanding circle of madness (but the good king of...hmm...).

What I would like to point out, is that in The Day the Universe Changed, although Burke seems to adopt one of postmodernity`s most ill-used concepts, i.e., that of no view of the world (whether mythical, religious or scientific) is better than the other, in that they are all equal and do the same, he does highlight in the concluding episode of the series the basic difference between them (one that is soooo often overlooked INTENTIONALLY ): if you admit that you are creating the universe according to the frame set you have developed any given time, and that it is a version of the truth you are presenting, and not a portion of a yet-to-be-discovered incontestable truth, sooner or later you will come across the holes in your cheddar...I mean, your Weltanschauung. And when the plot thickens, you can either change the storyline (as has been the case with science) or you put some cotton balls in your ear and hope it will go away. Now, whether one or another of these methods is more beneficial to man, it is in itself a long and heated debate...point is, the difference between these views had to be highlighted, so kudos for James!

Thought bubble of the day...

2010-01-16T17:46:00.003Z

In the beginning, is the scream. We scream.

The starting point of theoretical reflection is opposition, negativity, struggle. It is from rage that thought is born, not from the pose of reason, not from the reasoned-sitting-back-and-reflecting-on-the-mysteries-of-existence that is the conventional image of `the thinker`.

We start from negation, from dissonance...An inarticulate mumble of discontent, tears of frustration, a scream of rage, a confident roar. An unease, a confusion, a longing, a critical vibration.`

John Holloway, Change the World Without Taking Power, Pluto Press, London, 2002

UPDATE! UPDATE! Read all about it...

2009-12-16T16:51:00.000Z

And we are nearly finished...tomorrow is the presentation and then this short film project is a closed chapter. Not to get melodramatic, but it has been a time full of new experiences (good or unpleasant), challenges, stress and rainy days (both literally and metaphorically). I have neglected my social life (not that it is a big deal of it anyway) and have decided that sleep is overrated during these last two months...oh, and also...who says you shouldn`t read/watch tutorials/write while you eat/get dressed/try to go to sleep? The gates were opened wide for the information flood.

So, what can I show for these last weeks, considering that the link to the uploaded finished edit will only be available later on? Let`s see what I can do...

Production stills...

A short clip of the team at work :

And, a version of the promotional poster:

King Tut(orial) part 2

2009-12-04T00:18:00.000Z

Today has been a fine day...for tuts! I`ve set my eyes on a few things that might make our short-film project look better and I`ve tested two things: blemish removals (especially for close-ups, since we didn`t have a make-up person on the set) and the bleach bypass.

Now, the bleach tutorial has helped me familiarise with the Luma Matte, but in terms of its effects (the ones I managed to achieve anyway) I am not sure I`m doing a proper job. I find I couldn`t really spot that much of a difference between shots that used it, and those that didn`t (maybe I was too tired). Here is an example that actually demonstrates the effect quite well:

This is the image without the Matte...

This is the image with the Matte...

I`ve noticed that since the lighting, contrast and saturation levels are different from one scene to the other, in order to get an effective matte, one has to take each scene separately and tweak the parameters. I guess that would mean jumping between Premiere and After Effects to treat each sequence.

But let`s get to the piece de resistance! The Bleach bypass has been around for quite a while, being used before the digital switch-over in photo labs. Here are some examples (and I don`t think I need to point out which one`s has bleach bypass applied):

I have also made an overview of the entire footage today, and I`m looking forward to discussing the next editing bits with the group members.

The Laughing (Brig)stock(e) of History

2009-12-02T17:21:00.000Z

Did I mention I wouldn`t mind being a writer for this guy? Or just working on some of his projects, shows...whatever! Throwing ideas, word plays and jokes around. Marcus Brigstocke is, I believe, Britain`s version of a Bill Maher and Bill Hicks mash-up. With Maher`s sharp wit and Hick`s fearless delivery, none of his material that I`ve come across so far has disappointed me. The following video is part of a 2000-2001 BBC mockumentary series (shame we cannot do that for our documentary project...altough...) and for anyone familiar with some of the major themes in Brigstocke`s routine, the vitriolic critique of British prejudices and mannerism is there to savour and enjoy.

Look, you`ve got a Prezi!

2009-12-02T13:27:00.000Z

While looking for material for my networking SPP essay, I stumbled upon Prezi!...a new presentation tool that wants to get rid of the concept of slides we all got so used to. Instead, it introduces the idea of a giant canvas (maybe to give the impression that your idea forms a coherent whole and your arguments are interlinked to prove your point?...Mr. Freud, analyse this!) on which you can place your images, charts, information, footnotes, subtitles, etc...and then, you can focus, zoom in, move around, turn the thing Topsy-turvy to visually, not just verbally, highlight connections within the presentation. Sounds interesting and I think it is worth a try (and not just because the developer has a distinctly Hungarian sounding name).

...and ACTION!

2009-11-24T20:29:00.029Z

Shooting Order for ‘Bogdan’

WAVERLEY

9:00 – 9:15

Arrive at Waverley, stash props in 108a, collect kit

DICE
9:15 – 9:30

Camera crew to begin set up for first tracking shot.

9:30-9:45

Actors rehearsals and blocking

9:45 – 10:00

Tracking shot (1); (intro)

10:00 – 10.15

Wide shot (4)

10.15 – 10.30

MS+CU Bogdan (7/8/8a)

10:30-10.45

MS/CU Lawyer 5/6)

10:45-11:00

Pan shot from stairs (9)

Track shots Lawyer/Bogdan outro (8/9)

Additional shots?

FOREST TRAM STOP
11:00-11:15

Taxis to Forest road tram stop

Ryan and Alan to York office > set decoration > first lighting setup (for shots FACING the window)

11:15-11:30

Actors rehearsals and blocking

Camera crew to get additional establishing footage

11:30-11:45

WS/MS/CU/ECU Bogdan reading

11:45-12:00

Pan shot Bogdan to trash can

WS/MS/CU/ECU Bogdan seated at tram stop

12:00-12:20

Tram arrives/departs/full scene establishing shots

12:20-12:30

All remaining cast and crew to York House for rendezvous

12:30-13:00

LUNCH

YORK HOUSE OFFICE
13:00-13:15

Actor rehearsals and blocking

13:15-13:55

All shots facing window (initial lighting setup)

13:55-14:35

All shots facing away from window (switch to second lighting setup)

ALAN HOUSE
14:35-14:50

Remaining cast and all crew to final set via taxi

14:50-15:05

Actor rehearsal and blocking

15:05-15:30

Bogdan activities round house (tv/food/toilet/read paper/ coffee/cook etc)

15:30-15:45

Bogdan application form/email

15:45-16:00

Bogdan email V/O record

16:00-16:30

Bogdan arrives home from meeting/finds letter

Reads letter/destroys letter

Unfortunately, we didn`t manage to get all of these shots; a series of unforeseen circumstances meant we had to rethink some of the shots on the go. I suppose this type of unpredictability is part of the job.

Props Lis(z)t!

2009-11-18T20:14:00.000Z

Props list for Bogdan:

EXT. LEGAL OFFICE. DAY (DICe)

handbag
files
portfolio
cigarettes/ bottle of water
folder (for Bogdan)

EXT. DAY. (Tramstop at Forest Field)

cigarettes
letter (with school logo)
watch

INT. LEGAL OFFICE. DAY (York House)

law books from Boots
computer (Macs from 207 Wav?)
desk lamp (?)
pens
mug
files
stationery
graduation photos
picture frame
pins
calendar
diploma
diary
airline ticket

INT. APARTMENT. NIGHT

pictures (son & wife)
picture frames
Romanian/English books
Ro/Eng Dictionary
chessboard
stationery
plate
knife
fork
newspapers
ironing table
Rubik`s cube (?)

PlayLis(z)t

2009-11-16T23:20:00.000Z

Never a bad time to get some musical inspiration for future/possible/probable soundtracks. Tonight`s special:

Masked Ball by Jocelyn Pook, but this time, the unaltered version, which is a Greek Orthodox chant for mass in Romanian. For the scene in Kubrick`s Eyes Wide Shut, they have played it backwards.

This song is called The Tired Sun Tango...and I came across it while watching a documentary on Russian cutout animation artist Yuri Norstein

Bogdan - Day 0

2009-11-16T21:27:00.000Z

Monday, 16th November...alright people, note that date down in your calendars, for you shall look back upon that day as a turning point in the history of mankind. Yes, we have started rehearsing for our uni project, Bogdan...and yes, we have focused today on the exterior shots, which proved to be an initiation rite into the glorious realm of movie making, under a drape of clouds and rain and generally horrible weather. Thinking back to the editing suite...it just warms me up with memories of coziness and hot chocolate. But back to the real world.

Main thing today, we had to relocate for the legal office exterior shot. Reason: the car park at the previous location proved to be too much of a problem, and also, the general feel of the surrounding area felt unconvincing today. We are still near the DICe building, but have moved to another entrance. We feel that the ramp and the rails can be useful for adding depth to the shot, and also, the tracking shots on the ramp that we`ve tried seem to add dynamism to the scene. Duncan has drawn up a shot list for the location, with 2-3 backup angles in case we are unable to get the desired shots in time on the day. As camera operator, I find the opening shot the most difficult, as it involves a tilt, matched by the coming into the scene of Bogdan, and then a track on a diagonal line across the frame, and ending in a pan to follow the lawyer as she catches up with the main character. It is possible of course, but I really need to work on my pace and coordination.

Umar has also been recording some of the sound effects, mainly ambient sound and some footsteps.

The second location for the day was the tram stop at Hyson Green. We talked about various angles we could shoot from but unfortunately couldn`t try them out, because the weather got really bad and we had to be back in time to hand in the equipment (we`ll need to bring some umbrellas for the day). Nevertheless, it might still be a good thing since we managed to get a rough idea of what we want to do.

After this, we had a meeting trying to think about the props for each scene and we will then see who can provide what. Also, we are still having a bit of trouble with the interior office location. We have been looking at some group work rooms in Boots Library, and I will try to talk to someone at York House reception to see if we can get something.

Picture this...

2009-11-15T22:10:00.000Z

Since we have agreed to use the tram station at Hyson Green for one of our locations for the Bogdan script, I decided to take a look at the location again and try to think of some interesting camera angles. I know that the results might be very deceiving, as in the absence of a model, I had to add a silhouette for where the character might be placed within the frame, and it is likely that in terms of size the pictures are not really trustworthy. Still, I hope that they will be useful for tomorrow`s practice as a guideline.

I`ve tried to place the subject near the vanishing points created by different elements within the frame. Also, it might be a good idea to try a shallow focus on some of them.

NO(R)WAY!

2009-11-14T23:11:00.000Z

Today, I`ve been to Manchester with the Astronomy and Physics society from NTU to see the Da Vinci exhibition at the Museum of Science and Industry (MOSI). I must say, I don`t recall feeling so proud to be a geek as I`ve been today...had a really nice time. And I just got a brainwave...since the society is planning a trip to Norway to see the northern lights in the second term, I thought it might be a subject for my documentary project. Now, I don`t know a lot of the details (like when this trip might take place, or how long it`s going to be), and certainly, bringing a group to work along on the project sounds pretty unrealistic so far...but, who knows...I`ll keep an open mind, and if all else fails, I might make an individual portfolio project out of it. Anyway, looking forward to the trip...NO(R)WAY!!!

Thought bubble of the day...part 3

2009-11-11T23:25:00.003Z

I`ve just found some time to have a read through a book (Terence Wright - The Photography Handbook) I had for a few weeks now and I`ve come across something interesting already (after 5 pages, I`d say that`s fast!). Just a short entry, as I`m going to have a read through in more detail on the subject this weekend. Basically, it is about photography and the three main aesthetic approaches:

realism - concerned with the subject of photography (in other words, who is it that you frame to tell your story)
formalism - shifts the focus away from the subject, to the response the overall composition elicits from the viewer (having had a quick look at some works, it is quite clear in some of them that they lack the classic `subject`)
expressionism - is looking at what might have determined the taking of the photo in the first place.

Really interesting to consider for the composition of the shots in films as well...Food for thought

(Bog)Dan, capitan de plai...

2009-11-09T23:42:00.003Z

...don`t worry, you will only get this reference if you have studied Romanian literature. As part of our project 3 we have been given the Bogdan script, a story that has as its main character a Romanian immigrant. As the previous working script we have been given, this one is also fairly ambiguous, which gives us freedom to develop our story in different directions. After a meeting last week, I have been assigned to do a character study for Bogdan, given that we wanted to avoid the all-too-obvious `Tom Hanks in Terminal portraying the imbecile yet resourceful immigrant` kind of scenario. Given my insight into Romanian society in general, we agreed that it would be a pity not to make use of this advantage. So, here is my study, focusing on creating a background story for the character (revolving around the issue of why he left his country), and trying to draw a few guidelines in as much as appearance and age are concerned.

Bogdan

- Character study-

Reason for leaving

Romania

Bogdan was formerly an engineer working on a construction project that got massive funding. At realizing the corruption and machinations for money laundering that went on under the cover of the project, he decided to get out (for both ethical, but most importantly, personal safety considerations as we shall see later on). At this point though, his abrupt departure gave rise to suspicions within the press, anxious to know why a specialist would leave a well-paying job so suddenly, and while all things seemed to be running smoothly. Also, his superiors want him on the project because his being a specialist with no political affiliations and no business ties gave the team an aura of respectability. When Bogdan refuses to go back on his decision (he knows that if he does, he will be made into a scapegoat once the affair boils over), his colleagues threaten to sue him for breach of contract and mishandling of public funds. Bogdan leaves the country, hoping that his absence will make him invisible, and give no further fuel for the attacks and investigations of the press, thus making him a less inconvenient witness for his superiors. Having been to the

a few years earlier during a professional training course, and having a reasonably good job prospect and social network to rely, he decides to move to the country to start anew. Yet, Bogdan receives some bad news from home: as a result of a fake anti-corruption campaign started off by a rival political party against Bogdan`s superiors (members of another political party), the press`s attention on the case has not diminished, quite the contrary, so now, Bogdan`s colleagues have put their threats to practice (they have started legal action against him). This creates a series of problems for Bogdan, who has trouble with applying for his job because of the legal conundrum and, subsequently, has a hard time preparing the ground for the arrival of his family. This is where our story picks up.

Clothing

(Business) casual, a bit `boring`, mainly white or pastel-colored shirts, jumpers, jeans or black pants, coat (see photos)

Age

Around his mid 40s, which means he is still likely to make the decision to move to another country (social mobility decreases with age) but explains his need for a dictionary. Note: the generation that studied foreign languages before 1989 has acquired its knowledge from school and books exclusively; as there were no foreign TV programs on the network (communist regime banned them). So, there is a certain `school-like feeling` to this generation`s mastery of a foreign language and for Bogdan, who has been using English intermittently over the years during his work, his knowledge is uneven. Also, he is likely to be meticulous and diligent in his updating of English, this explains his note taking and his consulting the dictionary.

Items

Turkish style coffee is very popular with Romanians and there is a strong cultural reference to

Kent

cigars (they were the most sought after foreign brand during the communist years, as many Romanians are heavy smokers). Suitcases are common for any man working in a white collar business, and since we assume Bogdan is a middle aged man, his choice of glasses is more `classic`.

Now, let`s see what herr direktor comes up with!

When I grow up...

2009-11-07T19:57:00.003Z

...I want to be a bit like these people:

Terry Jones

Bill Maher

James Burke

All three are what one would call geeks (or, if you happen to be French, intellectuals) with a comedy zang to them (or, in the case of the first two, you could argue vice versa). I`ve been familiar with Jones and Burke since my teenage days, being a big fan of their documentaries and most of all, of their delivery of their program`s material. To this day, I can watch Connections or Crusades, Medieval Lives of The Day the Universe Changed and still be captivated by the style and the elegance through which often complex and controversial material is being delivered. Of course, when it comes to pointing out a guy who doesn`t pull a punch, Maher is the man for you. Although he has produced a film, Religulous, which has made him known to a wider public than your small group of politics geeks, I think the best of the comedian is to be found in his scattered material in TV shows, interviews, books and stand-up routines.

Sure, they are not really the most obvious choice for a moving image/audio-visual student. Although Jones has directed several films, it is not their directorial skill that puts them in the spotlight. And I suppose that would be the case for me too. Considering my background and my interests besides the actual course, I have always been drawn to ideas, more than stories, to language and the power of word plays in comedy, the ability of laughter and of irony to generate a response for change within people. I love the fact that these are people who are interested in different things, make connections, are irreverent without being (c)rude. So, I believe I have my practitioners for the essay, now I`ll have to start researching properly...

Malica a.k.a. MALac

2009-11-07T19:06:00.006Z

We have been given informal feedback on our seminar work on the MALac short film script this Friday. Our group has presented an edit consisting of a title sequence (which is part of my version of the edit) and also a personal edit from yours truly. The tutors seemed pleased with the general outcome of the project, although the quality of the sound left much to be desired still. Something we`ll have to bear in mind for the next project (which, by the way, is coming along fairly nicely I would gather from our meetings so far...let`s just see how the ideas come together and then how we can manage to put them into practice). I really like the moody feel created by the lighting in the second group`s edit.

Anyway, this is my edit of the Malica a.k.a MALac:

And here is the group edit:

The Good, the Bad and the Ugly (with regards this project):

So, time for a bit of self assessment! Things to learn: communicate, communicate and ...surprise....speak up! I think the overall quality of the work would be much improved in the future if we learn to let the others know when we are having difficulties within our own roles. For myself, I know I am still lousy at the so-called communication skills. Still not sure what to do to improve that though.

Also, I have to say that I am deeply dissatisfied with my performance with lighting the set. After all the tutorials and reading on the subject, I feel I am missing something (besides the obvious experience I mean).

But we had some good times as well. I feel like we have been successful in completing our individual work, before meetings and shootings, so that means everyone is responsible and is ready to be part of the group.

Captain`s (V)log

2009-11-02T22:28:00.000Z

My (slightly quirky) version of the what the cinematographer is all about, with an attempt at shallow focus. Can I just say in my defense that I`ve been a victim of what one might call a case of `the editor ate my homework` (my first tape, with carefully recorded footage has been obliterated by the cruel machines in room 105...although I can`t guarantee that the quality of that work would have been much better than this). I got this together in 20 minutes, desperately trying to get people and objects to pose (the objects maintained a firm resistance!). Without further ado, enjoy!

Color (Me Badd)

2009-10-29T21:10:00.003Z

Reading up on color on Bruce Block`s The Visual Story, I have just come across a very handy information for future attempts to light a set. It refers to the actual color that different lightsources are more likely to produce:

- candles will produce predominantly reds and oranges;

- a 60 WATT lightbulb will have reds and oranges but also a wider green and blue segment;

- with the TV light, oranges and greens are at a similar level, yellow is still the predominant, and reds and blues are equal;

- sunset light means you`ll get a distinctly reddish light, with orange overtones, some yellows and greens and very little purple and blue;

- daylight is dominated by cool colors, such as blue and purple; again, you have an equal amount of yellows and greens and less oranges and reds;

The additive system (mixing two colors to obtain a third one) is mostly used in theatres and two light live performances. Primary colors are RED, GREEN and BLUE

The subtractive system obtains new colors by subtracting the wavelengths of the two colors combined. Primary colors and CYAN, MAGENTA and YELLOW.

Desaturation: take a pure color, mix it with its complimentary color, and watch it turn grayish
Tint or pastel: adding WHITE to a HUE.
Shade: adding BLACK

Brightness of color is essential in capturing the attention of the viewer, so that when one considers affinity or contrast, one should also bear in mind the brightness of the respective colors. Yellow and Blue are complimentary colors, just like Red and Green, but the disproportion of brightness in the first pair, means that the attention of the viewer is going to be directed overwhelmingly towards the Yellow area. With Red and Green, the brightness levels are similar, so the scale is balanced.

It is interesting to note that the bright color does not need a large area of coverage to attract attention. The brighter it is, the less area it needs to `get noticed`.

You don`t have to mix two colors to create the impression of a new color. All you need is to have a susceptible color, placed near a color that activates the change in the former.

Analogous colors are colors placed next to each other on the wheel. They appear to push apart, so that having orange on a yellow surface will make the orange look red.

Eyes, just like taste buds, tend to get `bored` if bombarded with the same color over an extended period, so the intensity of the color starts to fade away before one`s eyes, in search of that elusive `white`. Since combining a color with its complimentary gives us a gray, bringing us closer to white, your brain will add the complimentary color automatically.

Day 0.4

2009-10-27T21:35:00.003Z

Tuesday:

After having a light and camera rehearsal on Monday, as well as having a meeting to go over the changes made to the script, we decided to move all the equipment to the location where we`re going to do the filming on Wednesday. The locations, a cellar, a kitchen, and an outside look of a house, have all been risk assessed by Alan and we have been given permission to film. He also arranged for the transport of the group to the location.

The kitchen:

The cellar:

The house:

We split-up into two groups: Ryan, who is in charge with sound (pre-)recording and Alan have set out to capture some of the sound effects that we will be needing for the final editing, and the rest of the group (Abdul, myself, Duncan and Umar) was busy coming up with different ideas for camera/lights angles/position and help put them into practice. Lighting the kitchen has been quite a challenge, and I am still not sure if I am happy with the result (I get to much exposure on certain parts of the face), but we have marked out the places for the set-up we have tried today, so tomorrow hopefully we can start from there and come up with some last minute ideas to solve that problem. Abdul has also drawn up a floor plan. The lighting for the cellar scenes looks more promising. We have used one of the lights and had it bouncing of the wall, and made it look like its source is a lamp that is placed just near the subject. I suggested using a CTB gel, because the CTO one just seemed to soft and tangerine-like. Also, the colour treatment of the kitchen scene required something similar, I think, so as not to have too stark a contrast between the two scenes.

We have had some troubles with the actors...with the actress, to be more precise. She came down with a flu, and her presence is uncertain. Alan has come up with a back-up plan, having contacted a professional actress who might be interested. Until tomorrow though, I am afraid that`s a cliffhanger...

Day 0.3

2009-10-27T21:01:00.000Z

MINUTES

Monday:

Final draft of the script, discussed and agreed upon.
Studio light and camera rehearsal (see photos).
Booking equipment for Tuesday (on location rehearsal) and Wednesday (shoot).
Health & Safety, Recce sheet completed.

Day 0.2 - An Overview

2009-10-26T00:00:00.006Z

MINUTES

• A new member has joined the group, who will take up the role of sound recording

• We have got interested actors and actresses who have e-mailed back to take part in our film

• We have sent details and asked the actors to call back

• Completed a schedule for the filming and practice for all roles

• Tuesday at 2pm after lecture we will do a set rehearsal

• Wednesday at 9am we will do a dress rehearsal

• Monday at 9am, lighting and camera practice will be done before filming on Wednesday, by people undertaking these roles

• Script will be finalised on Monday (all changes)

• The risk assessment has been scheduled to be done on Monday as well

• We have had another discussion regarding our location, after having a sound lecture. We then decided a bedroom, but have now gone back to our original idea of the cellar due to sound and lighting purposes

• For all filming we have got permission from the technician to borrow equipment (e.g. camera, lights, mic etc) on specific days, when needed, whether for practice of actual filming.

Color-Correct me!

2009-10-25T10:17:00.004Z

We`ve had a lecture on the use of color in films and while looking up videos related to the topic on Youtube, I just came across this video:

Now, this seemed to answer in part one of the questions I was to ask my tutors, about how you get your footage to LOOK like a film, not just a recording of a scene (of course, I am only talking about the visual aspect here, I know that the cinematic look is achieved through movement, both of actors and camera, sound, lighting and so on). This second video offered a tutorial, and although it was for another editing software, it just made me more aware of what effects I had to resort to in Premiere and After Effects to get a similar result.

This is a first attempt with some of the footage from the camera training we had last year with Bindni:

And here are some screenshots. It is really interesting how you can add to the story, or turn it upside down by tinting, high or low saturation, playing around with the levels. Even minor changes, such as between the first and second capture, can alter the feel of the movie. The first one is warmer, closer to `reality` in terms of colors, but also, because of this, the viewer may not feel cosy and safe in the belief that (as visually suggested) he is witnessing the happenings of another world that is not his.

Day 0.1

2009-10-23T19:25:00.006+01:00

Today`s seminar on the sounds we would consider including in the MALac script was really good, both for brainstorming within the group and sorting out our own scenario, and for comparing ideas with the other groups. Things seem to come together now. We had to make a list of sounds for:

*Music

*Special Effects

*Voices

*Ambient

Taking into account the conditions on our selected location (which will be a basement), we realised we`ll have to do some pre-recording of special effects and also some voice-overs.

We have a new team member as well, Ryan who will do sound recording and one of the tasks. Duncan will be adding the changes and instructions we`ve added to the script and discuss the new version during our next meeting on Monday. Also on Monday, I`ve arranged to book out the studio rooms and lighting, camera and sound equipment to do some rehearsals. Abdul and Duncan will try to get in touch with the people who have already showed interest to act. Hopefully, that will be settled as soon as possible.

Now that we have a location, Alan is doing the risk assessment over the week-end and Abdul will get the story boards ready after discussing the changes with Duncan.

So, that leaves me, Ryan and Umar to do our best on Monday and get our act together with the lighting, camera work, and sound recording, respectively. Oh, and Alan will do the (pre-)production stills

Know thy lights!

2009-10-23T00:49:00.000+01:00

Just your basic three-point lighting tutorial, to recap some of the things we`ve learned last year.

Some useful ideas, especially the ones about what sort of lighting to use (wide, narrow) depending on the shape of your subject`s face. Also, note to self...adjust the position of your lights for each new angle you will be filming from.

This video demonstrates one of those simple tricks that you can use to figure out how good your lighting really is...really makes you wonder why you haven`t thought about it yourself? I`ve tried the technique out in my room, and it makes it pretty obvious which position of the light is preferable.

The next one deals with film noir style lighting techniques. Really interesting, I`ve been trying to replicate it, but obviously I can`t focus my desk lamp. Focus and intensity of light are essential in film noir, so that the soft, grey shadows are replaced by harsh ones. Shadows are your friends in this case.

What`s in the...location?

2009-10-22T21:06:00.000+01:00

I have completed my research on the role of the Location manager the last week, but I forgot to transfer it on my journal. Meanwhile, I have come to realise ever more the importance of the role. Not having the appropriate location can make shooting a real nightmare, both in terms of the effort and stress level that the crew has to go through, and the visual and audio outcome of the work.

The most unglamorous, though at times very important, part of the Location manager`s job is health and safety. Every rolls their eyes, and it is very frustrating and bureaucratic a lot of the times, but a necessary evil. Then comes the really crucial bit: is the lighting adequate? Will the set not pose major problems with the recording of sound? Do you have to get permission to shoot and who do you ask for it? Will the neighbours agree or will you find yourself sabotaged ?! Can you control the area insofar as to make sure you don`t have people who are not involved in the production walking in and out on your set? Can you make sure the crew knows where to go on the day of the shoot (you`ll have to draw up a MOVEMENT ORDER for this particular task), without getting lost and making sure they can park, dine, warm up, work in a safe environment and clean up the location at the end of the day?

What does it take to be a location manager?

- a good understanding of the script and an extensive library to search through for the right place

- willingness to travel, even at short notice

- a good knowledge of your area/town/county/country

- working knowledge of governmental procedures

- know your history, architectural styles, etc

- ability to keep focused for long hours, attending to the needs of each unit of the crew

- administrative and negotiating skills.

SOURCES:

Location Works
Skillset

Prospects

Day 0

2009-10-22T20:46:00.009+01:00

After a disastrous performance at today`s seminar (yeeeeeey to us!) we had our first meeting for the MALac film. Going over the script and discussing possible interpretations of it (shhhh, I`m not going to tell you about it for now), we have also agreed on the roles that each member of the team is going to take on.

Abdul: Producer, Editingm Camera assistant

Alan: Location manager, Health & Safety representative

Duncan: Director, Sound recording and post-production

Diana: Lighting and sound, Production assistant, Location assistant, titles designer

Umar: Camera and lighting post-production and visual effects

Tomorrow, we are going to have another meeting, discuss some other proposals for the location (the ones we have looked at today prooved unsuitable for shooting) and hopefully get some feedback from people interested in acting (Abdul has posted an advert for the roles). If everything works out the way it SHOULD, the risk assessment should be on Jools`s desk on Monday, and we will be shooting on Tuesday and Wednesday.

Until tomorrow, I will be thinking about the title sequence, because we would have to change it quite a bit to make it match the interpretation we have given the script.

My morale is a bit low (very low) after today, so I might have a rather gloomy perspective on the outcome of our effort, but I guess the best thing to do is to look up some more tutorials and emerse myself in work, hoping things will come together eventually.

Moving....Image part 2

2009-10-17T14:03:00.000+01:00

Found out who is responsible for the cutout animation in the Monthy Python series: Terry Gilliam.

The movement of the characters with this method of animation is anything but smooth, which in turns seems to add to the comic effect generated by the overturning of expectations. Just like in the opening sequence of Monthy Python`s Flying Circus, the squash, kick, punch in the face of expectations or logic offers comic relief. What this technique achieves visually, one can find in the delivery of several stand-up comedians, the first that comes to mind right now being Bill Maher or Roy Zimmerman.

While I`m at it, I also came across a tutorial for cutout animation. I guess I should try it out as soon as possible

Moving....Image

2009-10-17T12:32:00.006+01:00

Started thinking about possible subjects for the documentary project. I would love to do something history or sociology related of course, possibly even history of ideas or cultural history related stuff (I know, I am very boring! And I don`t have a life either). And suddenly, look-wise, I immediately thought of a series of documentaries hosted by Terry Jones, called Medieval Lives. I loved the series (just like every other documentary by Terry Jones) because of how they tackled the subject (irreverent a la Monthy Python, but still based on facts, and most importantly, challenging views that most of us take for granted) and because of the animations. In fact, that (i.e., animation) is precisely what I would love to learn more about, so memo to me, ask one of the tutors (Andy maybe?) on how to do something similar, and see if it would be feasible (time-wise) for the project.

Some useful links for the series:
http://www.guardian.co.uk/education/2004/feb/08/highereducation.news
http://news.bbc.co.uk/1/hi/england/bristol/3507439.stm

(Un)title(d) sequence

2009-10-16T22:11:00.004+01:00

Why not do some research for the titles sequence project? I think I might be doing Jean de la Florette (I liked the movie) but of course, the list is open. Anyhow, a few links:

I like this title sequence, partly because I like to have only objects, or parts of the human body in the opening sequences...I find it more intriguing. I would say that sometimes, hands, eyes, lips, etc have a life of their own, they are "alive" even without viewer seeing the actual character...and just maybe, sometimes, they speak more true of that character than the overall image, which often time helps diverting one`s attention. Just a personal thought really...

The scratches and the color tints go rather well with the music...it gives one the general feeling that even the lens through which the story is being captured is something that might be put under scrutiny, dissected, re-written, censored, etc. Somehow, this is not a free flowing, outside observer point of view...makes a reference to the cutting and...scratching of the editor maybe, or even to the cut-and-paste nature of one`s own reality (ok, I know I got carried away, that`s probably not what it means to say, but...it has the potential for that as well).

Well, if I were to judge animation and music separately, they would probably be nice but not particularly remarkable. But as a whole they really make a good duo, each raising the other`s quality I think. Flipping through the pages of a book is a fairly over-used idea, but the words forming up the characters and the landscape is a pretty neat counter-weight to that (although, again, not a novel idea), the (corny) detective feel of the music dissipates fairly quickly into the awkward hero`s theme song. We get introduced to the main characters of the series and the sequences pretty much speak for themselves: the wise guy, the village idiot, the femme fatale, etc.

Got to love the title sequences from Monthy Python`s Flying Circus. It looks like a dada collage: tongue-in-cheek and twisted! The idea of the gradual build-up within the animations that compose the sequence, followed by the inevitable giant foot that squashes all attempts to create a predictable pattern (titles, names of actors, beginning of the actual show and a chronological/ structural logic to it) are rendered futile.

That`s it for today. Links to have a look at: http://www.artofthetitle.com/

Things to do, things to do...

2009-10-16T20:57:00.006+01:00

Since the start of each year is filled with enthusiasm, confusion and lots of plans one makes for the future, I thought it might be a good idea to put these down on here, as well as have them on a to do list in my room. I`m hoping this will be a good place to come back to, hopefully to tick off the list some of the things that I have done and add more...So, here is the list for now:

- journal entry for the Location Manager individual research (initially, just text, but I have had an idea for making a short video for it too...gathering material for the Dome)

- journal entry for the seminar on how to record ideas.

- begin reading scripts (have to make room for that in my reading schedule, since I am momentarily addicted to some of the books I have started reading earlier...I know, I am a lost case!)

- buy some of the books on the reading list for Exploring Multimedia (I am thinking more specifically of Rabiger`s book, which I have had a look at in the first year, just before the summer break)

- start doing research for the SPP assignment on networks (VERY IMPORTANT: since I was thinking of London as a network, try and speak to people I know about the basics and possibly have a discussion with Jools as well, see what guidelines he can provide...and of course, apart from that, hours of browsing and looking up relevant information on the internet)

- start thinking of video log entries (spice them up a bit...I don`t want to just bore people to death)

- read some articles on film critique and try my hand at it

TO BE CONTINUED...

King Tut(orial)

2009-10-13T19:11:00.006+01:00

Yes, well...first week back at uni, still trying to understand what I`ll do this year. Until I figure things out, I`m just trying to go through a few things I`ve heard about today, see if I can get some basic info and a taster/teaser.

So...it seems like I`ll have to invest some serious amount of my time getting my head round ProTools. I`ve found a tutorial series, but of course, it`s going to take more than that.

Also, since I chose Moving Images (previously known as the infamous Audio Visual pathway), I will have to face my greatest fears: working in a team and getting good at communicating my ideas (preferably, in a convincing way)...if that isn`t every (former) Humanities student`s nightmare, I don`t know what is...

I do what I can...part 5

2009-09-30T22:27:00.003+01:00

Well, here we are again...this is the spot for Comedy Cluj Film Festival and you can find it on the festival`s blog (unfortunately, only in Romanian for this year). The ending reads: `What of a world without laughter?`

Publish Post(er)

2009-09-29T19:41:00.000+01:00

A month or so ago, a friend had kindly pointed me to this page of the NUS site where they advertised a poster competition for the National Student Survey`s annual campaign to get feedback for universities and prospective students from students. So, since I`ve had had enough of the summer lazy days, I thought I would give it a go (two, actually).

Both attempts make reference to popular culture icons. The strapline for each poster is based on the assumption that the public can draw from a diverse range of (personal) meanings attributed to these images and thus interpret the message in several ways. For instance, the Campbell soup poster and its strapline "Open Up" play on the idea of keeping one`s opinions (or grievances) for oneself, or "Be Heard" (as the previous year`s winning poster suggested). On a more playful note though, the image of soup in a tin brings about knowing smiles (hopefully) from students acquainted with the eating habits of student life.

The Uncle Sam reference is pretty in-your-face. Alright, so it is a bit of an Uncle Sam turned Uncle Jack! We all know that piercing gaze and that commanding (and demanding) no-nonsense attitude that thinks he should have your feedback not because he is asking you nicely....noooooooo...but because he DESERVES it...and besides, it is your duty to do so...hmmmmm, maybe it is a tad to martial of an image to conjure up for such a campaign!

Simply put: just a mild case of cartesian anxiety! part 3

2009-09-06T21:49:00.000+01:00

BBC Documetaries - The Power of Nightmares

...talk about constructing through discourse an image new realities...myth creation in action!

I do what I can...part 4

2009-08-30T20:32:00.004+01:00

COMEDY CLUJ: http://www.comedycluj.ro/

The Comedy Cluj site...still under construction, but getting ready for the event. I have been taken up by the volunteer coordinator as a collaborator for the site so, besides writing some of the material, I am taking my turn in coming up with suggestions for layout, spell-check, etc.

I do what I can...part 3

2009-08-21T13:39:00.006+01:00

So, what`s new? Well, I`ve been doing some translations for film subtitles for Comedy Cluj and also done some more writing for the official website (www.comedycluj.ro). The site is still under construction, so you`ll have to take my word for it for now...I`ll leave you with the event`s mascots. Happy fellas!

Thought bubble of the day...part 2

2009-08-20T11:42:00.007+01:00

I watched Bill Maher`s film, Religulous, and while the host was interviewing a guy called Dr. Andrew Newberg, I thought to myself...hmmm...he looks familiar. And indeed, he is not a new face to me, I`ve seen him on What the bleep to we know? and a BBC documentary called God in the Brain. What I find absolutely intriguing is the idea of biologically breaking down the idea of god, the chemical and anatomical make-up that facilitates our perception of some sort of transcendence, or presence or all the other forms people have associated with divine nature. And I must admit it, I like the idea of bringing the haughty perception of God to the same level as other feelings such as ...say...love, the need for protection and certitude, etc because it takes away a poweful means for legitimising a lot of crazy stuff by people who - consciously or not -abuse the incontestable magnetism of this idea. Let`s face it, if the guy who threatened you you`ll suffer the consequences of your not living according to his (questionably) moral standards, would tell you it is his own voice that assures him of your demise, and not that of a high and mighty being, you`d laugh in his face. Plus, it will re-light an interesting conversation I had with a friend a while ago (at the cinema, over a popcorn and during the commercials!) over consciesness, the big deal that we make of it (come on, we think it is the reason why we are chosen by god or...providence or how you want to call it, to reign supreme, to explore new boundaries to...bla bla bla, you get the idea!) but that it is merely a mutation, an accident almost of evolution. From a survival point of view, it is really a crappy thing to have, since it doesn`t really get you far, and we can all agree it is not always easy to live with it and the angst it brings along. So, will have to chit-chat more on that one...

I do what I can...part 2

2009-08-13T20:14:00.010+01:00

Long time no post, right? (I bet you are asking yourself, my dearest non-existent reader, why am I talking to myself and constantly acting like I have an audience...I stopped wondering about that a long time ago...). Thanks to a good friend from Cluj, involved in organising a comedy film festival, I got to do some work. Working on some English translation for the festival`s promotional materials. Should they like it, I might make it to the official site of the event (fingers crossed!). Just in case you are bored to death and have nothing else better to do, here it is:

"Step right up and prepare yourself for sheer comedy delight with Comedy Cluj International Comedy Film Festival! Emerging from foamy waves of film passion and ready to wash away those grey tedious afternoons, Comedy Cluj aims high on the laugh-o-meter, making its public burst into laughter with a heavy-duty artillery of 70 fire-cracker comedies. Oh, and on a more social note, Comedy Cluj provides a gathering place for film aficionados/enthusiasts/lovers, critics and everyone in-between from all corners of the world can meet and exchange musings.

We are here to…

- give you a taste of cultural diversity that will leave you coming back for more…

- lure films and audiences from around the world

- give you a taste of a bewildering range of comedy sub-genres (satire, parody, romantic comedy, opera buffa, black comedy, sit-coms, absurd, etc) leaving the public with a highly sophisticated palate and eye for the best productions.

- take out the middle man, providing an environment for unmediated/direct interactions between film creators, producers and distributors

- give the home comedy production a gentle nudge, or a kiss, if you will, that would wake it up from its present slumber

- put the Charisma back into Comedy, enticing viewers of all ages – a special attention to all of the hip youngsters – to feel its evergreen appeal

- take our shot at placing Cluj and Romania on the glitzy map of cultural, artistic and cinematic hipsterdom."

I do what I can...

2009-07-17T11:47:00.010+01:00

Whaaaaat? I told you I`m guinea pigs...less! So I do what I can and with...whom I can. Good thing I still have me.

I don`t know about acting (haven`t tried it for some years now...might consider a re-run for this year with the Drama society at NTU...who knows!), but trying to make an expressive face for a few seconds in front of the camera...some lights, some props, some spice added to it...I get the cinematic trance! Now, if I could only link the trance to the narrative and conceptual, and striking a balance...then I might be actually DOING something, instead of just coming up with ideas I keep postponing.

Memo to me: if you keep posting some of these images, it would be a good idea to talk more about why you keep making them...or simply mock yourself, that`s good too!

TranSLATE 2

2009-07-07T22:22:00.015+01:00

Nae Caranfil`s E pericolo sporgersi. Simply brings a smile to my face so I have to include it here.

-And now you want to show me your vinyl collection, or what?

-I understand you are making a pass on our girls, right?

-Have we met before?

-For your sake, we`d better not! That`s all I`m sayin`...

-You want something from me?

-Yeah! I want you to leave this girl alone! She`s mine.

-Which girl?

-You know all too well. The one that`s just left.

-So, you`ve been listening?

-No...but I know she`s been here. Why...just because we allow you in our town to do your service, you think you can have a go at our girls?

-For now, the only one having a go is you...at me!

-HEY! Watch it! I`ve done three years of boxing as a kid, if you`ll tick me off I`ll make you bleed!

-Be....careful what you say. I`m wearing a uniform and that might spell trouble for you.

-I`ve tried to argue with you from man to man, but is seems like you don`t want to...

-Maybe you want to meet the rest of the patrol?

-Maybe you want to meet my brother, who is into karate...there`ll be blood, I tell you!

-Maybe you need a beating up!

-I tried to argue sensibly with you...

-You want a fight?

-Be careful...

-Fight?

-If you touch me, I`ll break your glasses you son of a bitch!

-Who do you think you are, talking like that about mum?

-And why are you acting tough?

-You`ll see what I`m made of...

-Why did you hit me?

-Who....who hit you? Me...?

-Yes, you...you wanted to hit me. Why did you want to do that. Why?

-D....don`t make me loose my temper!

....

-You damned Bucharest scum!

TranSLATE 1

2009-07-07T13:45:00.023+01:00

A hilarious fragment from Cuibul de viespi (Wasps`Nest), a film based on one of Alexandru Kiritescu`s plays. Probably sums up pretty well all one can say about Romanian sense of humour and the Balkan....ehrm....charm. I know it is hard to incorporate all the savory linguistical bits but...here is a somewhat valiant attempt (hopefully):

-You got the braids? Thank heaven and all of the saints! Put them there. And you? Why are you daydreaming? Get a move on…destination: braids! And get the incense burner.
-What incense burner?
-What incense burner? What incense burner? The one we use for the braids! Now go and fetch it for me….WAIT! But don`t get me the wrong one or I`ll use it on your head!
-Alright…
-WAIT!!! Bring some incense too.
-…
-WAIT!!! And make sure you don`t bring some coals instead….WA..
-WAIT! I get it! Don`t patronize me!

-You deserved that, you rascal!
-I`m late because I had to queue.
-Queue…huh? Nein! You be smooching…
-Ma`am?
-Mit soldiers!
-Wha…? You are out of it…
-Insult you me? Gypsy! You little cat! Lazy bones! Ptttt!
-Calm down you two. What`s this all about?
-She should leave me alone, coz I`m an honest girl, not like her… silly old bat!
-Wass? Gehn zum Teufel!

-Requiem it is…but a lucky one!
-Sis…did you write the (remembrance) list?
-I did.
-Read it!
-Ana, Grigore, Tinca….puuuuuuut that down theeeeeeeeeere!....Didina, Tina, Gherghina…
-Don`t stand about to see what an fool she is. She is from Caracal, she can afford it! But you are from Transylvania, right?
-I get this sort of humiliation even in front of the servants!...Balasa, Androne…
-….and all their relatives…I say, let Zamfira know how much you`re worth!
-Tase, Marghioala, Ionicica…
-What? You`ve listed all the boors from Tase`s family? Devil take them! God rest their souls!
-Arghirita, Sofronie, Marita…
-Marita?
-Yep!
-On Margareta`s remembrance list?
-Aham.
-Vanda`s mother…
-Aham.
-Where`s your brain, sis?
-Oh, gosh! You`re right! You`re so right! It`s because of that debauched woman that we got into all this trouble! Ptttt! It`s not within our nature….to curse and all….but she deserves it! May she turn into dust…may God and the virgin Mary turn her into dust!
-I`ve never cursed anyone in my life, and I won`t do it now! But may I see her buried without her shoes on, oh Holy Mother and Saint Filofteia! The Lord gaveth unto us, the Lord taketh!
-What is it?
-Hit my back! Whooooooah…you almost knocked me down!
-Well, you were coughing real bad and…

Time for a bit of maritime!

2009-07-02T11:41:00.031+01:00

Loredana Groza`s Copiii Sirenelor (The Sirens` Children)

After a sea accident, the crew of a ship is lured by a covent of sirens. But after all, it turns out it ain't a bad thing at all.

Copiii sirenelor, sung by Loredana (Romanian singer Loredana Groza) and Loredana (three years old) is featured on Nana Nanino, an album aimed at children between the ages of 1 and 5 years, released by MediaPro Music on September 2007.
The music video, full of delightul animation, has been realized at Romanian studio Videorgy.

(Source: http://dekku.nofatclips.com/2007/12/loredana-copiii-sirenelor.html)

You ROtoscope my world! part 2

2009-07-01T20:00:00.006+01:00

And a second draft of the same animation. I added some colours now and tweaked it...I think I`m beginning to see a flicker of potential here...just enough to encourage me to keep going and try out new things during this holiday...just what the doctor ordered!

You ROtoscope my world!

2009-06-30T15:56:00.006+01:00

Well, did I say I`ll have guinea pigs for today? WRONG!!! So, I had to go for plan B in order to avoid feeling utterly useless this day. And plan B was...try one of the following:

- light saber effect

- rotoscope animation

- blue screen

After trying to set up, act out and manage not to fall over doing the blue screen shtick, I came to the sensible conclusion that trying a bit of rotoscope action would be safer (though not for my poor eyes, and, as it turns out, for my nerves, given the fact that I don`t have a digital pen, so I had to get it done via...ah....you`ve guessed it...MOUSE). A few hours later and many clicks and drags away...here is a first draft. So imperfect and lacking in potential it makes me want to cry but I`m still going to post it, for no other reason then for the sheer effort that went into making it (yes, even in this un-glamorous state it is).

I got the BLUES(creen)!

2009-06-29T15:53:00.007+01:00

Ohohohoho!....I got myself some new guinea pigs...I mean, part-time actors and volunteers and hopefully, tomorrow will be a good day...for experimentation! What I would like to try out is the blue/green screen effect, and, possibly, the split screen effect too.