Tuesday, 17 April 2012
Friday, 30 March 2012
Evaluation Question - Powerpoint meets Photograph: What have you learned from your audience feedback?
This question was originally answered using a microsoft powerpoint. However, despite trying many times, I have been unable to upload it to my blog. I have tried videoing myself doing the presentation, but the quality is always very poor and most of the time you cannot see what is going on onscreen!
Therefore, I have decided that the only way to upload it is to take screenshots of each slide and upload them as photos. This is unfortunate, as I uploaded some great animations into the original powerpoint which you now will not get to see. Anyhow, I hope my answer to the question is clear enough.
Therefore, I have decided that the only way to upload it is to take screenshots of each slide and upload them as photos. This is unfortunate, as I uploaded some great animations into the original powerpoint which you now will not get to see. Anyhow, I hope my answer to the question is clear enough.
Tuesday, 27 March 2012
Monday, 26 March 2012
Friday, 16 March 2012
Timings of the Film
The timing cues for the storyboard went out the window!! This is because the actual narrative of the poem had to be drastically cut to be under 5 minutes. Therefore, much of the second half of the poem had to be reduced or cut completely; despite this, I kept the most crucial moments in the poem, so the story is still understandable!
The speed of the movements of the manniquins vary greatly. Death, Life-in-Death and the Ancient Mariner are all quite slow (between 0.50 and 0.75 seconds per shot) but for different reasons. Death and LID are slow simply because they are the most powerful forces in the poem - they are in no rush to inflict their torment on the mariner! The ancient mariner on the other hand, is slow simply because he is elderly. He is meant to be weak and ravaged from his curse!
The young mariner and the wedding guest on the other hand are much faster; the mariner because he is young and energetic; the wedding guest because he is nervous and jittery!
The speed of the movements of the manniquins vary greatly. Death, Life-in-Death and the Ancient Mariner are all quite slow (between 0.50 and 0.75 seconds per shot) but for different reasons. Death and LID are slow simply because they are the most powerful forces in the poem - they are in no rush to inflict their torment on the mariner! The ancient mariner on the other hand, is slow simply because he is elderly. He is meant to be weak and ravaged from his curse!
The young mariner and the wedding guest on the other hand are much faster; the mariner because he is young and energetic; the wedding guest because he is nervous and jittery!
Feedback
Having just screened my film to the class for the first time, I am happy to say that everyone seemed to really enjoy it! Which has made me feel really good.
Here is some of the feedback I have been offered:
Mr Wroe: "Really good, I really like it - I especially like the death ship's arrival, jumping out of the sea. Excellent music, well done. You framed the narrative excellently, with the Mariner explaining the story to the Wedding Guest, it was clear that we were going back into the past. The titles are also really good - they look very professional (which is great as poor titles are often what let films like this down). I would say this film looks about ready to enter into a short-film contest! Very well done".
Walter: "Fantastic shots, and love the music; my only criticism is that when they were playing dice, the table was jiggling about a bit, and in a couple of shots, the wedding guest moved position a little. But it was still fantastic and those were only minor points."
Becky: "I really like the music - it is really effective."
Rupert: "I love the shadow effect on the woman's face - she looks really frightening and scary. It's very effective!"
Harry: "It's a pity that the dice on the table couldn't be 3D instead of flat, but it is still a good representation."
Personally, I agree with all the above comments - I would have liked to use 3D dice, but unfortunately it was not possible due to the tiny scale of the models; real dice would have looked too big and mini ones would have been impossible to create as they are so small.
Furthermore, I did notice that the table moves around a little between shots - unfortunately this is a negative side-effect of photoshop! I attempted to keep it as stationary as possible, which is why the movement is minimal, but there was doubtlessly going to be some movement! As for the wedding guest, his erratic movements were intentional as he is personified by Coleridge as a nervous and fearful individual: "I fear thee Ancient Mariner!!"
The albatross also moves around in between shots when lying on the deck at the mariner's feet - this was also intentional, as it portrays its dying throws and agony. The intention was to make the scene as tragic as possible!
Here is some of the feedback I have been offered:
Mr Wroe: "Really good, I really like it - I especially like the death ship's arrival, jumping out of the sea. Excellent music, well done. You framed the narrative excellently, with the Mariner explaining the story to the Wedding Guest, it was clear that we were going back into the past. The titles are also really good - they look very professional (which is great as poor titles are often what let films like this down). I would say this film looks about ready to enter into a short-film contest! Very well done".
Walter: "Fantastic shots, and love the music; my only criticism is that when they were playing dice, the table was jiggling about a bit, and in a couple of shots, the wedding guest moved position a little. But it was still fantastic and those were only minor points."
Becky: "I really like the music - it is really effective."
Rupert: "I love the shadow effect on the woman's face - she looks really frightening and scary. It's very effective!"
Harry: "It's a pity that the dice on the table couldn't be 3D instead of flat, but it is still a good representation."
Personally, I agree with all the above comments - I would have liked to use 3D dice, but unfortunately it was not possible due to the tiny scale of the models; real dice would have looked too big and mini ones would have been impossible to create as they are so small.
Furthermore, I did notice that the table moves around a little between shots - unfortunately this is a negative side-effect of photoshop! I attempted to keep it as stationary as possible, which is why the movement is minimal, but there was doubtlessly going to be some movement! As for the wedding guest, his erratic movements were intentional as he is personified by Coleridge as a nervous and fearful individual: "I fear thee Ancient Mariner!!"
The albatross also moves around in between shots when lying on the deck at the mariner's feet - this was also intentional, as it portrays its dying throws and agony. The intention was to make the scene as tragic as possible!
Final Poster
This is my final ancillary task - an advertising poster, complete with logo, advertising company and release date. It is based on the "Pirates of the Caribbean: Dead Man's Chest" release poster; it was created using photoshop and paint. Personally I am happy with the final edit!
Thursday, 15 March 2012
My final piece
It is finished! Here is my final media project: "The Rime of the Ancient Mariner" - stop motion animation.
Hope you enjoy it.
Hope you enjoy it.
Tuesday, 13 March 2012
A2 Evaluation Questions
Ok. So, the final deadline for EVERYTHING to be completed is..... Friday 16th March. That is 3 days away. AND the evaluation presentation is due on Friday 16th. AHHHH!
So, the evaluation questions I have to address are:
In what ways does your media product use, develop or challenge forms and conventions of real media products?
How effective is the combination of your main product and ancillary texts?
What have you learned from your audience feedback?
How did you use media technologies in the construction and research, planning and evaluation stages?
A different form of media must be used for each question; I plan to use 1 video interview, 1 prezzi, 1 poster and 1 voice-over video.
So, the evaluation questions I have to address are:
In what ways does your media product use, develop or challenge forms and conventions of real media products?
How effective is the combination of your main product and ancillary texts?
What have you learned from your audience feedback?
How did you use media technologies in the construction and research, planning and evaluation stages?
A different form of media must be used for each question; I plan to use 1 video interview, 1 prezzi, 1 poster and 1 voice-over video.
Wednesday, 7 March 2012
Ancillary task
I am in the process of creating a poster for my animation "The Rime of the Ancient Mariner". I am basing it on the poster for "Pirates of the Caribbean: Dead Man's Chest", as both share a sea-faring theme. In fact, "Pirates of the Caribbean: Dead Man's Chest" pinched many aspects from Coleridge's poem, including the main theme of an undead sailor, scouring the seas for all eternity!
Friday, 2 March 2012
MUST
- Design a double page spread in a magazine about my film
- Also create a poster for a film festival featuring my film
- Also create a poster for a film festival featuring my film
Evaluation Prep
Media Evaluation
How effective is the combination of your main product and ancillary tasks?
• Analyse your ancillary tasks using media language; refer to connotations, symbolism and references used.
• Compare similarities and differences between ancillary task and main task
• Evaluate how effective the narrative is
• Include audience feedback
How effective is the combination of your main product and ancillary tasks?
• Analyse your ancillary tasks using media language; refer to connotations, symbolism and references used.
• Compare similarities and differences between ancillary task and main task
• Evaluate how effective the narrative is
• Include audience feedback
Friday, 24 February 2012
Coursework key questions/answers
1. Have you got a completed main piece?
Not yet – I need to finish editing it.
2. Have you completed subsidiary/ancillary pieces?
No – I have not finished the film yet. I am not sure how to go about it.
3. Is your coursework sufficiently sophisticated and detailed? Does it engage with Media concepts?
I think so... production, we media (youtube), marketing (not sure how...)
4. Does your coursework allow you to engage with the key questions you need for your evaluation?
5. What actions do you need to take now?
Finish editing my piece using photoshop which will take a long time. Once I have done this, I will be able to concentrate on my ancillary tasks.
Evaluation:
In what ways does your media product use, develop or challenge forms and conventions of real media products?
How effective is the combination of your main product and ancillary tasks?
What have you learned from your audience feedback?
How did you use media technologies in the construction and research, planning and evaluation stages?
Make notes on the ways that your coursework shows development in these key areas:
• Digital technology (camera, photoshop, etc...)
• Creativity (construction of the models, greenbox, etc...)
• Research and Planning (research of Dore’s illustrations, organising a timetable, etc...)
• Post-Production (editing, photoshop, etc...)
• Using conventions from real media texts (editing, model construction, etc...)
Make notes on the ways that your coursework engages with these key concepts:
• Narrative
• Audience
Not yet – I need to finish editing it.
2. Have you completed subsidiary/ancillary pieces?
No – I have not finished the film yet. I am not sure how to go about it.
3. Is your coursework sufficiently sophisticated and detailed? Does it engage with Media concepts?
I think so... production, we media (youtube), marketing (not sure how...)
4. Does your coursework allow you to engage with the key questions you need for your evaluation?
5. What actions do you need to take now?
Finish editing my piece using photoshop which will take a long time. Once I have done this, I will be able to concentrate on my ancillary tasks.
Evaluation:
In what ways does your media product use, develop or challenge forms and conventions of real media products?
How effective is the combination of your main product and ancillary tasks?
What have you learned from your audience feedback?
How did you use media technologies in the construction and research, planning and evaluation stages?
Make notes on the ways that your coursework shows development in these key areas:
• Digital technology (camera, photoshop, etc...)
• Creativity (construction of the models, greenbox, etc...)
• Research and Planning (research of Dore’s illustrations, organising a timetable, etc...)
• Post-Production (editing, photoshop, etc...)
• Using conventions from real media texts (editing, model construction, etc...)
Make notes on the ways that your coursework engages with these key concepts:
• Narrative
• Audience
Tuesday, 21 February 2012
Media Film Feedback
This is a post responding to the feedback I was given by Mr Wroe several weeks ago, before my rushes were created. I have done this in the form of a list of points raised by Mr Wroe (in bold), and my response to them.
- The greenscreen behind your (original) figurines is very creased and the lighting is very uneven I have improved the greenscreen (as can be seen in my recent rushes) and the lighting has been adjusted (as also can be seen from my rushes). The lighting is still a little uneven, however, this is not as big an issue as originally thought, as I am now digitally removing the background of each photograph using photoshop as opposed to my original idea of using a techinical "greenscreen" approach, which would require perfect lighting.
- Can you explain the timing cues on your storyboard? Yes: the timing cues reflect how many seconds each "scene" should be; from the number of seconds estimated, I was able to work out approximately how many photographs were needed for each scene. As it happens, the timing cues have been re-adjusted and the opening scene has more than tripled in length; therefore, I plan to re-blog a new storyboard with the new timing cues.
- Can you explain the type of sound you have chosen? Will there be dialogue/a soundtrack? If so, how do you plan to do this? There will be a soundtrack, which will be played over the top of the completed animation - the soundtrack is comprised of 3 different pieces of music, and was originally created as a piece of dance music for a performance I was involved in last year; it was arranged and edited by my friend - Neiko - who kindly allowed me to borrow it (I asked his permission using facebook messages). I have decided that there will be no dialogue or spoken voice during the animation, as I believe that this takes away from the atmosphere of the piece. Furthermore, even if I did want the characters to speak, I have neither the time nor the budget to enable the characters' mouth to move as they talk! Therefore, my decision was one of practicality and consideration.
- Will you blog some of your rushes, just to give us a hint of what is to come? Yes - the rushes have been blogged and I am in the process of creating a facebook page for my animation, where the rushes (both edited and unedited) will be displayed and feedback will be invited.
- Have you had any feedback so far? Yes - I have recieved three messages from fellow youtube users, each one claiming that they "loved (my) channel" and could see that I was "really into animations". I have also recieved facebook comments from friends, my favorite of which was: "wow - I love the models! And I love the way they move - you are so talented". Which is very nice.
- Finally, may I just say that I love the ribs showing through Death's costume - that is a really nice touch! Thank you. I actually pinched that idea from one of the Gustave Dore illustrations (shown on the right hand side of my blog) where his robe is left open down the front, giving us a rather macarbre glimpse of his ribs! I liked the gothic touch, so that is why I have included it.
- The greenscreen behind your (original) figurines is very creased and the lighting is very uneven I have improved the greenscreen (as can be seen in my recent rushes) and the lighting has been adjusted (as also can be seen from my rushes). The lighting is still a little uneven, however, this is not as big an issue as originally thought, as I am now digitally removing the background of each photograph using photoshop as opposed to my original idea of using a techinical "greenscreen" approach, which would require perfect lighting.
- Can you explain the timing cues on your storyboard? Yes: the timing cues reflect how many seconds each "scene" should be; from the number of seconds estimated, I was able to work out approximately how many photographs were needed for each scene. As it happens, the timing cues have been re-adjusted and the opening scene has more than tripled in length; therefore, I plan to re-blog a new storyboard with the new timing cues.
- Can you explain the type of sound you have chosen? Will there be dialogue/a soundtrack? If so, how do you plan to do this? There will be a soundtrack, which will be played over the top of the completed animation - the soundtrack is comprised of 3 different pieces of music, and was originally created as a piece of dance music for a performance I was involved in last year; it was arranged and edited by my friend - Neiko - who kindly allowed me to borrow it (I asked his permission using facebook messages). I have decided that there will be no dialogue or spoken voice during the animation, as I believe that this takes away from the atmosphere of the piece. Furthermore, even if I did want the characters to speak, I have neither the time nor the budget to enable the characters' mouth to move as they talk! Therefore, my decision was one of practicality and consideration.
- Will you blog some of your rushes, just to give us a hint of what is to come? Yes - the rushes have been blogged and I am in the process of creating a facebook page for my animation, where the rushes (both edited and unedited) will be displayed and feedback will be invited.
- Have you had any feedback so far? Yes - I have recieved three messages from fellow youtube users, each one claiming that they "loved (my) channel" and could see that I was "really into animations". I have also recieved facebook comments from friends, my favorite of which was: "wow - I love the models! And I love the way they move - you are so talented". Which is very nice.
- Finally, may I just say that I love the ribs showing through Death's costume - that is a really nice touch! Thank you. I actually pinched that idea from one of the Gustave Dore illustrations (shown on the right hand side of my blog) where his robe is left open down the front, giving us a rather macarbre glimpse of his ribs! I liked the gothic touch, so that is why I have included it.
Friday, 27 January 2012
Other rushes
http://www.youtube.com/watch?v=3SjHGfpREWo
http://www.youtube.com/watch?v=odUTGwmA-38&feature=related
http://www.youtube.com/watch?v=u6teJkXZQVM&feature=related
http://www.youtube.com/watch?v=odUTGwmA-38&feature=related
http://www.youtube.com/watch?v=u6teJkXZQVM&feature=related
To Do List
Ancillary Task:
- One double page magazine article about my film
- One poster for a film festival featuring my short film
- Create a brand/logo for the production company
Editing:
- Digitally remove the background from each photograph and super-impose a background
- String each rush together and include the soundtrack over the top
- Create titles and credits
Extras:
- Create either a facebook page/group for my film to get feedback
- Create a survey monkey to get feedback
Final Deadline = 10th February
- One double page magazine article about my film
- One poster for a film festival featuring my short film
- Create a brand/logo for the production company
Editing:
- Digitally remove the background from each photograph and super-impose a background
- String each rush together and include the soundtrack over the top
- Create titles and credits
Extras:
- Create either a facebook page/group for my film to get feedback
- Create a survey monkey to get feedback
Final Deadline = 10th February
Thursday, 12 January 2012
Analysing Film - "Napoleon, Mighty Leader"
This is really a reflection on the analysis I did on some Lady GaGa music videos ("Judas" and "Alejandro") a while back. Since then, I have found an exceptional piece of footage which I would like to analyse, and which I feel is far more effective as a piece of dramatic filming than the music videos.
This is a scene from the 1999 Motion Picture "Animal Farm" starring Patrick Stewart, Paul Schofield, Pete Postlethwaite, Iam Holm and Kelsey Grammer. The scene is the penultimate scene of the film; the pigs have already established a totalitarian regieme on Animal Farm, resulting in their over-working of the animals, starving them, and executing any who question the rule of Napoleon. The original leader, Snoball, has been expelled from the farm, Napoleon and Squealerhave become alchoholics, and Boxer, the carthorse, has been cruelly slaughtered. This scene extends on the ending of the novel; the novel ends with the farm animals being unable to distinguish the pigs from the humans. However, I consider this scene to be a masterpiece as well as one of the most powerful scenes in cinematic history, and it is my favorite scene from the film.
This piece of footage is presented as a piece of Soviet Propaganda, created by Squealer (the propoganda machine and allegory for Molotov) in honour of Napoleon (the dictator and allegory for Stalin).
The opening part of the video depicts Jessie, the border collie, witnessing Napoleon sharing a bowl of whiskey (bought with Boxer's life) with the human farmer Pilkington and the anthropomorphic blurring between them. This foreshadows Napoleon's donning a suit towards the end of the Propoganda film.
The next section, showing the animals reading the commandments of animalism (which have been systematically altered by Squealer throughout the story) and noticing the latest alteration: All animals are equal BUT SOME ANIMALS ARE MORE EQUAL THAN OTHERS. This re-iterates the superiority of the pigs and the power they have over the other animal's lives. It also refreshes our memory of Boxer's pitiful demise at the Glue Factory.
The propaganda film is introduced to us by Squealer (whom we have come to despise) as a method of de-sensitising the animals to Napoleon's cruelty. The film itself is remeniscient of both Soviet and Nazi propaganda videos, particularly when the huge green banners depicting Napoleon's flag fall from the walls of the barn. The almost brain-washed manner in which the ducks march on the spot throughout the song adds to the chilling nature of the film, as do the sheep sporting sashes of "the hoof and horn".
The lyrics to the song are as follows:
Praise to him, the font of all our wisdom;
Long to live, the ruler of our farm.
Napoleon, mighty leader! Mighty leader watching over us!
SHOUT SHOUT, SHOUT OUT LOUD! SNOUT SNOUT, PINK AND PROUD!
Friend on high, you guide us with your smile;
Teach us how to be as kind as you.
Napoleon, mighty leader! Mighty leader watching over us!
SHOUT SHOUT, SHOUT OUT LOUD! SNOUT SNOUT, PINK AND PROUD!
Perfect Pig, you bless us with your beauty!
Hallowed Hog, how wonderous is your glow!
Napoleon, mighty leader! Mighty leader watching over us!
SHOUT SHOUT, SHOUT OUT LOUD! SNOUT SNOUT, PINK AND PROUD!
FOUR LEGS GOOD, TWO LEGS BETTER! FOUR LEGS GOOD, TWO LEGS BETTER!
The animal's chanting of "Four legs good, two legs better" is a reversal of one of their first principals of animalism: "Four legs good, two legs BAD". Again, this reflects the pig's desire to become more human. The slow, upward-tilting establishing shot of Napoleon wearing a suit is the climax of the piece; Napoleon is now practically completely human, happy with the power which he craved.
The transition of the film from black and white to colour depicts the transition from the film to present day. Napoleon's final speech displays the twisted and juxtaposed nature of his reign; in particular, his desire to devote the farm to building walls, while reassuring the farm that all animals are free. The geese flying over Napoleon's head are representatives of the Russian fighter planes.
In conclusion, I love the dramatic nature of this scene and the music it is composed with - the scene is powerful, dramatic, shocking, disturbing and chilling, just like Orwell's original novel! However, I do feel that the producers and directors should have decided to terminate the film at the end of Napoleon's speech rather than attempt to give the story a happy ending. This would have given the film a more unsettling and unnerving ending, whilst remaining loyal to the book, which I feel would have been more appropriate!
http://www.youtube.com/watch?v=0m1VsFOUePw
This is a scene from the 1999 Motion Picture "Animal Farm" starring Patrick Stewart, Paul Schofield, Pete Postlethwaite, Iam Holm and Kelsey Grammer. The scene is the penultimate scene of the film; the pigs have already established a totalitarian regieme on Animal Farm, resulting in their over-working of the animals, starving them, and executing any who question the rule of Napoleon. The original leader, Snoball, has been expelled from the farm, Napoleon and Squealerhave become alchoholics, and Boxer, the carthorse, has been cruelly slaughtered. This scene extends on the ending of the novel; the novel ends with the farm animals being unable to distinguish the pigs from the humans. However, I consider this scene to be a masterpiece as well as one of the most powerful scenes in cinematic history, and it is my favorite scene from the film.
This piece of footage is presented as a piece of Soviet Propaganda, created by Squealer (the propoganda machine and allegory for Molotov) in honour of Napoleon (the dictator and allegory for Stalin).
The opening part of the video depicts Jessie, the border collie, witnessing Napoleon sharing a bowl of whiskey (bought with Boxer's life) with the human farmer Pilkington and the anthropomorphic blurring between them. This foreshadows Napoleon's donning a suit towards the end of the Propoganda film.
The next section, showing the animals reading the commandments of animalism (which have been systematically altered by Squealer throughout the story) and noticing the latest alteration: All animals are equal BUT SOME ANIMALS ARE MORE EQUAL THAN OTHERS. This re-iterates the superiority of the pigs and the power they have over the other animal's lives. It also refreshes our memory of Boxer's pitiful demise at the Glue Factory.
The propaganda film is introduced to us by Squealer (whom we have come to despise) as a method of de-sensitising the animals to Napoleon's cruelty. The film itself is remeniscient of both Soviet and Nazi propaganda videos, particularly when the huge green banners depicting Napoleon's flag fall from the walls of the barn. The almost brain-washed manner in which the ducks march on the spot throughout the song adds to the chilling nature of the film, as do the sheep sporting sashes of "the hoof and horn".
The lyrics to the song are as follows:
Praise to him, the font of all our wisdom;
Long to live, the ruler of our farm.
Napoleon, mighty leader! Mighty leader watching over us!
SHOUT SHOUT, SHOUT OUT LOUD! SNOUT SNOUT, PINK AND PROUD!
Friend on high, you guide us with your smile;
Teach us how to be as kind as you.
Napoleon, mighty leader! Mighty leader watching over us!
SHOUT SHOUT, SHOUT OUT LOUD! SNOUT SNOUT, PINK AND PROUD!
Perfect Pig, you bless us with your beauty!
Hallowed Hog, how wonderous is your glow!
Napoleon, mighty leader! Mighty leader watching over us!
SHOUT SHOUT, SHOUT OUT LOUD! SNOUT SNOUT, PINK AND PROUD!
FOUR LEGS GOOD, TWO LEGS BETTER! FOUR LEGS GOOD, TWO LEGS BETTER!
The animal's chanting of "Four legs good, two legs better" is a reversal of one of their first principals of animalism: "Four legs good, two legs BAD". Again, this reflects the pig's desire to become more human. The slow, upward-tilting establishing shot of Napoleon wearing a suit is the climax of the piece; Napoleon is now practically completely human, happy with the power which he craved.
The transition of the film from black and white to colour depicts the transition from the film to present day. Napoleon's final speech displays the twisted and juxtaposed nature of his reign; in particular, his desire to devote the farm to building walls, while reassuring the farm that all animals are free. The geese flying over Napoleon's head are representatives of the Russian fighter planes.
In conclusion, I love the dramatic nature of this scene and the music it is composed with - the scene is powerful, dramatic, shocking, disturbing and chilling, just like Orwell's original novel! However, I do feel that the producers and directors should have decided to terminate the film at the end of Napoleon's speech rather than attempt to give the story a happy ending. This would have given the film a more unsettling and unnerving ending, whilst remaining loyal to the book, which I feel would have been more appropriate!
http://www.youtube.com/watch?v=0m1VsFOUePw
Sunday, 1 January 2012
Rush Two
This is scene two of my Ancient Mariner animation - the young mariner, on board his ship, prior to killing the albatross. He is knotting the rope for the sails, and getting rather fed up with it! Hence his kicking it away and stalking off. The next scene will depict the appearence of the albatross and his killing of it - which will be filmed when I actually have an albatross (they are, suprisingly, rather difficult to find!)
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