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
Friday, 24 February 2012
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!)
Saturday, 31 December 2011
Rush One
Ta-Dah!!! Here it is! My complete rush of scene 1 of Rime of the Ancient Mariner - the animation. Obviously, it looks a little blank here, as it has no background or soundtrack, however, I am happy with the quality of the movement and am excited to superimpose the background and thus improve the quality.
This scene is a LOT longer than originally planned - a whole 37 seconds longer! - however, I feel it is neccesary to have a longer introduction, as it really sets up the rest of the story! The originally planned 6 second intro just wouldn't have sufficed!
When you compare this rush to the first one, I hope you will agree that the quality of the animation has really improved!
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