Year 1 Module BACM101

Stop motion task ideas:

Idea one (advert)

  • Range Rover from outside, inside it’s cardboard.
  • Rolls Royce, inside inside interior is real.
  • Tagline that talks about how Range Rover is fake; they use fake wood instead of real wood. Cardboard represents this point.
  • Range Rover falling apart from inside. Punchline – ‘don’t judge a book by it’s cover’ (example).

Idea two (artist creation)

  • Artist leaves room.
  • Inaminate object starts to create something on the artists desk.
  • Inspired by Toy Story and Google Maps video

Idea three (Dream sequence)

  • Falling off cliff dream
  • Cardboard cutouts falling off books.

Capture.PNG

Idea four (Movie)

  • Recreate movie scenes with cardboard cutouts.

Idea five (Movie title sequence)

  • Inspiration: Napoleon Dynamite title sequence.
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Year 1 Module BACM101

Narrative based poster that “sells” a story – BTS

The task:

For this task, we had to create a poster with the ideas of composition design in mind. The poster could be an advertisement, movie poster or magazine spread.

The idea:

Originally when the task was introduced it was more angled towards a short web story, with the book ’99 Ways to Tell a Story’ being the example. Therefore, my first piece for this task was telling my own version of the story from that book:

Fox.J.Can you guys shut up.101.18-19

However, the task was altered to creating a poster, so I will discuss my ideas for this instead. In the Thursday tech session with Neil, I worked on creating a concept poster for a second installment of ‘Metropolis’. I did this because I’ve always found the Dubai skyline to look very alien, like something straight out of a sci-fi. And the Burj Khalifa, I thought in my head, could be the modern day version of the tower that is on the orignal Metropolis poster. I just thought it would be very cool to create a modern day Metropolis poster.

For the SpecSavers poster ad, I knew I wanted to make use of flat design and typography as these are two things I’m interested in, so then I just drew inspiration from a twitter post from Tyler Joseph (from the band twenty one pilots): Capture

And also drew inspiration from the ‘Better Call Saul’ poster in the DMP base room:

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After that, I looked up some tutorials on creating flat design on Adobe Illustrator. I never really had a solid idea for this, I just knew what I wanted to make use of and draw inspiration from. From there on, it was just a matter of creating something.

Lastly, ‘Crossover’ is a poster version of a book cover I did for my dad last year. I thought it fitted in well with compostion design, and being able to make use of what I’ve learnt about Adobe InDesign a program I haven’t used before to create a poster that makes use of vector-based text was really the drive behind this piece.

What I did:

For my version of the story from ’99 Ways to Tell a Story’, I just created everything from shapes in Illustrator, added in things such as the fence in Photoshop, and then assembled it in InDesign.

Metropolis 2

For the Metropolis poster, I found a very cool image of the Dubai skyline above the clouds on Google images:

Astounding Views From The Tallest Building In The World

I then dragged the image down, and extended the sky upwards by making selection of part of the original sky, moving it upwards and blending both the orignal and extended sky using the option ‘auto blend’. After that, I added in the 90th anniversary Metropolis poster created by the design studio ‘La Boca’:

Metropolis Poster

Then, it was just a matter of creating a layer mask on this picture and brushing away all the bits I didn’t want until I ended up with this:

Modern Metropolis Draft.jpg

I then played around with a few filters in Photoshop to get a ‘sketch’ effect, found the Metropolis font online and ended up with this:

Fox.J.Metropolis 2.102.18-19.jpg

SpecSavers poster ad:

For this, I first created the flat design plants and plant pots in Illustrator:

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I then assembled it and added in text using InDesign:

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The idea was for it to look like a Snellen chart:

Snellen_chart.svg

I then opened it in Photoshop, where I added in a black and white tint, brushing the tint  away where the red plant pot is:

20181114_182320

We talked about colour whilst discussing composition design, and this is something I definitely wanted to make use of in this poster.

Fox.J.SpecSavers Poster Ad.102.18-19.jpg

Crossover:

This was just as simple as going back to my old Photoshop files and re-saving them as just the image on its own. I then opened up this image in InDesign where I added in the text:

20181114_173254

Fox.J.Crossover Poster.102.18-19.jpg

Year 1 Module BACM101

Choreography Task – BTS

The task:

For this task, we had to shoot some footage with the ideas of camera, light and performance in relation to choreography in mind. Once we had shot our footage, we then had to edit and refine our clips.

The idea:

I collaborated with Jess on this task. We both wanted to make use of the dolly that we were inducted on during the previous day, so collaborating meant we could work together on setting it up. The idea was Jess’. In short: she wanted to tell the story of a girl who had met a guy that then goes on to break her heart, but the story would be told only using shots of the elevator and multiple panning shots using the dolly.

What we did:

We took the dolly to Jess’ student accommodation building and set it up outside an elevator, and used Jess’ friends as actors. A storyboard was used to make sure we did not miss any footage, and after each ‘scene’ the actors changed their shirts to show the passage of time. When the actors walked into the elevator, the camera panned in using the dolly, and when they walked out the camera panned out. The idea was that in post-production this would create a flawless transition between each scene so you wouldn’t see any cuts.

My version:

In the post-production phase, I decided I would take the footage we recorded and create my own version of the video. I wanted to try make it as different as possible to Jess’, and give it a different meaning. I had a few different ideas, with a few examples being: an advert for bullying or schizophrenia, a music video, a lyric video, a Foley video. I decided it shouldn’t be too sad as that had already been covered in Jess’, so in the end I went for an upbeat dating advert for Tinder. I liked the idea of adding a bit more of a narrative, and did this by adding actual dialogue in the form of text. I made use of Premiere Pro’s masking tools to mask out the actors in different scenes so I could introduce this text in interesting ways. This is something that would be much better to do in After Effects as Premiere Pro doesn’t have motion tracking, but the post-production phase of this task was about using Premiere Pro so I decided to make full use of Premiere Pro’s capabilities. For the scenes where the text ‘cleared away’ by the elevator, I used a linear wipe transition on the text and key framed it so it created that illusion. Over each cut, I added in bokeh light clips which I set to the blend mode ‘overlay’ to make the transitions look better. I also think they match the music and video.

Year 1 Module BACM101

What is Choreography in Moving Image?

Choreography is defined as “the sequence of steps and movements in dance, in figure skating, ballet or other staged dance”.

Choreography of camera

However, choreography also refers to “the art or practice of designing sequences of movements for physical bodies”, and in film this implies a choreography of camera movement too.

From my understanding, that means examples of choreography of camera (camera movement) are techniques such as the pan, zoom, crane/boom, dolly and tilt etc.

One of the most famous examples of one of these in use, and arguably an unappreciated effect, is the dolly zoom; and the example I’ve chose that shows this technique in action is from Jaws:

(the dolly zoom is at 2:00.)

Choreography of people

Choreography of people is simply their movement: “choreography is the art or practice of designing sequences of movements of physical bodies (or their depictions) in which motion, form, or both are specified.”

Relating this to film, and using my understanding of ‘choreography of people’, my example would have to be (arguably) the most famous example of this in practice: the beach scene from Atonement:

One paragraph of information I found interesting from my research was: “although traditionally, the bodies in movement in film are human – they don’t have to be. Some ‘dance film’ explores the movement of grass bending by the wind, cross-cut let’s say with waves in the sea or even dockside cranes being operated in sequence.” 

Choreography of light/shadow

“Lighting choreographer is a system to expand the expressive capability of human body by lighting. It makes light effects on the user’s body synchronized with motion and sound, focusing on the viewing point that the produced effects recursively influence the choreographer.”

If my understanding is right, I think most film noir movies would be perfect examples of choreography of light and shadow. Almost all film noir movies make “use of low-key lighting to create extreme silhouettes and dark shadows”, which I think constitutes choreography of light/shadow.

There are loads of examples you can pick from, but The Big Sleep is a very famous example that highlights light and shadow:

Year 1 Module BACM101, Year 1 Module BACM102

Task Three: Image Making and Manipulation and BTS

Five images:

All five pictures together are meant to tell the story of depression, and how it might look or feel like from the perspective of someone suffering from it. The images are meant to depict the person who is suffering from depression wanting to escape from his head. He has acted in a moment of confusion and frustration and escaped into the night to try get away from his demons. The shadows depict his depression and how he sees it.

Image 1

James.F.Image 1.101.18-19 (Edited)

Taking the image:

In this image, I set the camera up so the two walls on either side of the stairs acted as the frame. I knew I wanted a light shining brightly down on the subject (me, in this case) with darkness almost starting to ‘envelop’ that light and the subject. The angle of the shot was actually accidental, but in my eyes added to the image.

Lightroom edit:

I wanted all the images to be black and white, someone suffering from depression does not see the world in colour, so this was obviously the first step when editing this image in Lightroom. I played around with the basic settings, such as: exposure; whites, shadows and blacks, so I could accentuate the darkness more and make the light behind me seem brighter. I also added a vignette to add to the ‘enveloping’ effect of the darkness, and cropped the photo slightly so the frame was more defined.

Photoshop edit:

In Photoshop, I masked out the subject and the left wall that leads up the staircase. I wanted to add a shadow of something on the back wall, and went for the shadow of a hand reaching out towards the subject. Cutting out the left wall allowed me to make it look like the hand was reaching out from the corridor. The hand is meant to be depression starting to grab hold of the subject.

Image 2

James.F.Image 2.101.18-19 (Edited).jpg

Taking the image:

This was taken from outside my front door during the night, which left the light seaming out of the open door into the darkness. I tried a few different angles, even one where you could see the top of the stairs where the subject had been sitting. I settled on this one as it seemed more mysterious and gave me room to manipulate it in Photoshop.

Lightroom edit:

Just like the first image, I turned it to black and white and played with the different settings in Lightroom to accentuate the darkness and bring out the light parts. For this particular image, I wanted it to be completely pitch-black, with only the light being the glow from the door shining across the ground, so I played around with the settings (blacks, exposure etc) until I got to this point.

Photoshop edit:

I added in the shadow of a robed man, with the shadow spreading from the doorway across the light on the ground. I did this by cutting out an image of a man wearing a robe I found on google images (image below), positioning it using the transform tool, adding a black and white gradient from top to bottom, and setting the blend mode to ‘overlay’. I duplicated the shadow once to make it more visible.

robed_5_by_peace_of_art

Image 3

James.F.Image 3.101.18-19 (Edited)

Taking the image:

I took this from behind a car my mum was driving up my drive (thanks mum!) It was taken during the darkness, I knew I just wanted to be able to make out the lights of the car and not much else (the aim being to create the illusion of demon’s eyes). I set the camera to MF and made it slightly out of focus, showing the confused state of mind of someone suffering from depression and bad thoughts who acts in a low moment, controlled by their depression.

Lightroom:

Again, like the first two images, I wanted to accentuate the darkness and bring out the lights. I also added a vignette on this image like the first one. In the day time, my drive almost forms a long tunnel because of the over-hanging trees and hedges either side. I wanted to create a tunnel of darkness for this image, and the vignette helped create that.

Image 4

James.F.Image 4.101.18-19 (Edited)

Taking the image:

I took this from a bridge overlooking the motorway during the night. It took me a bit of fiddling around with the camera as it kept taking photos similar to long exposure photographs.

Lightroom:

Like the others, I wanted to bring out the darkness and to have the only lights to be the different car headlights on the road.

Image 5

James.F.Image 5.101.18-19 (Edited)

Taking the image:

I took this in the morning, after printing out the ‘missing’ poster the previous night. I played around with the angles of this image, but settled on one that was looking up at the poster just like how the first image was looking up at the subject. I did this as I felt the poster was still the subject himself as it was made for that subject going missing. Having both angles the same was intended to show the link between the two; the poster was about the subject. He is now missing.

Lightroom:

Again, like the other pictures I wanted to bring out the darkness, but not so much that you couldn’t see some of the background or the tree. This time, instead of accentuating the darks, I wanted to accentuate the whites of the poster. I did briefly consider having a morning light kind of colour for this image (meaning it wouldn’t of been black and white), but I thought this would give out the message that everything was okay now.

Two Cinemagraphs:

Cinemagraph-1-(Cats)James.F.Cinemagraph-1-(Goblin2).1.102.18-19-(Edited)

Feedback:

  • Images quite dark.
  • First cinemagraph could be cropped.
Year 1 Module BACM101

Sounding the Image – BTS

Pentagon-protests-edit-11

What I did:

I recorded the sounds of ‘gun shots’ first in the audio studio, by using using party poppers and balloons. I also recorded the sounds of footsteps at different paces in the audio studio as well (slow, running etc). The next day, I went field recording where I made us of ‘worldising’. I replayed the gun shot noises through my speaker in a subway to get an echo effect, and also re-recorded the footstep noises. Whilst field recording, I also recorded the sounds of a fence being pushed up against/hit, and back at PCA some second-years were kind enough to agree to do some shouting.

First version:

In audition, I put the sounds of a fence being hit throughout the whole 30 seconds. I duplicated the shouting three times and staggered them to give the impression there was hundreds of thousands of people. The fence and crowd was my underlying noise. On top of that, I added in the gun shots at various places, making them seem random, and also added in the footsteps to add to the chaotic noise.

Second version:

After showing Chris my first attempt, he gave me some very good advice. The above picture focuses on a moment, and I wasn’t really capturing that. I was capturing the overall context of hundreds of thousands of people protesting. To capture that moment, I decided on slowly muting out the crowds of people shouting, and bringing in a heartbeat/clock ticking sound effect. As this was my second version, I also decided that I could test out using music. I chose ‘Catch the Wind’ and got my brother to play that on his guitar so I wasn’t cheating too much.

During the Friday crit session on the 19th of October 2018 with Andrew, it was recieved well by the class and Andrew. A few of the constructive criticism I got back was:

  • Guitar was a bit overpowering; drowned out the ‘ticking’ noise too much.
  • The guitar sounded like it was recorded in a studio, and making it sound like it was coming from the left/right in the distance, being carried by the wind, would of made it sound more realistic.

Feedback:

First version:

  • Didn’t capture the moment.

Second version:

  • Guitar a bit overpowering.
  • Clock sounds like clapping.
  • Clock could be in time with the guitar.
  • Guitar sounds like it is in a studio. It would of been someone playing in the crowd, from left to right.

 

Year 1 Module BACM101

Lighting and Composition

The task set out was to do some research into the areas of ‘lighting’ and ‘composition’, particularly in relation to story, and then pick two images (one for each topic) that demonstrate the use of both.

Barry Lyndon

For lighting, a film that came to mind after some thinking was Stanley Kubrick’s ‘Barry Lyndon’. The use of lighting, or lack of, during most of the scenes in the film has been described as some of the most ‘evocative’ in movie history, and there’s a reason for that: Stanley Kubrick wanted to use as much natural lighting as possible. For this film, Kubrick got much of his inspiration from English and European paintings from the late 1700s, where he noticed that many of the people in the paintings were lit by natural light. Being the perfectionist he was he wanted to create “a moving 18th century painting”, meaning that not only was there a lot of time invested into creating authentic costumes, but there was a lot of time invested into creating authentic lighting as well.

Lady Lyndon Scene

This scene is entirely lit by candle light. To film it, they had to use Carl Zeiss Planar 50mm f/0.7 lenses, used by NASA for the Apollo moon landings, to be able to capture the low level of light. How does this relate to the story? It adds authenticity. The film is telling a story from a certain period of history, the 18th century; it is obvious, but there was no artificial lighting during the 18th century. Life would have looked EXACTLY like the above image. Barry Lyndon is marvellous in terms of lighting alone because it is true to reality, it’s realistic, it’s authentic, it transports you to another time and place; something every film should do. Moreover, some of the scenes in this film do actually look like 18th century paintings adding to the realism.

50mmf07

Road to Perdition

I talked about this film in terms of lighting the other day in class, but I couldn’t help but bring it up again in terms of composition, as it is excellent in that department too. One of the most striking scenes from this film is this one:

Road to Perdition - Window scene

The context of the film may help a little bit here. “Mike Sullivan is an enforcer for powerful Depression-era Midwestern mobster John Rooney. Rooney’s son, Connor, is jealous of the close bond they share, and when Mike’s eldest son, Michael, witnesses a hit, Connor uses the incident as an excuse to murder Sullivan’s wife and youngest son. Forced to flee, Sullivan and Michael set out on a journey of revenge and self-discovery”. *SPOILER ALERT* He did get revenge, he did rediscover himself and he did rediscover is bond with his remaining son. The image above is at the end of that journey.

So, what does it tell us? The scene is lighter, after much of the darkness of the film. Mike Sullivan (Tom Hanks) is looking out towards his son who’s playing on the beach. The beach, ocean and the beautiful horizon, with the setting sun, looks heavenly. Earlier in the film, John Rooney said “none of us will see heaven”. Mike Sullivan has found his peace, he’s made it to his heaven, he’s come out from the dark undergrowth of the gangster world and everything is much lighter now. This one image from this scene tells us this.

A little bit more about Road to Perdition:

I love this film because it is also a perfect example of how lighting can tell a story.  After the son witnesses the ‘hit’, much of the film is filmed in a dark light.

 The film starts out reasonbaly light:

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After Mike’s eldest son witnesses a ‘hit’, most of the rest of the film is shot with dark or natural lighting, with the colours appearing washed out:

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After Mike gets his revenge, everything is light again:

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Mike enters a room that appears very light and white, similar to heaven?

58-white-room.png

Here’s the link to the cinematography of Road to Perdition.

Also, how good is this for framing!?