COMPLETE REPOSTING OF VIDEOS FOR SONJA

Here are my vids sonja

sorry about the lack of communication

The Great Video Collaboration

Here is a link to the videos..


The powerpoint cannot be attached so I have included the text.


DEPTH

¡Over the shoulder shot in the first video creates tension because the gun is nearly pointed at the audience.

¡Video shot from low angle to give the impression of power.

¡The end of the video is comfortable, like a conversation with the narrator speaking.

 

 VIDEO 1

 

¡Movement – More camera changes, moving around more during the conversation

¡Rhythm – The camera cutting back and forth as each person talks creates a sort of rhythm.

Video 2

¡Line and shape – Created by the hands extended slapping each other

¡Space – A lot of space between them when they talk and when they fight shows tension

Producer – Megan

Director – Justin

Camera – Bill

Editor – Gary & Bill

Set Design - Ben 

https://sn2prd0102.outlook.com/owa/redir.aspx?C=3TURRcvRwEKJ93e-4RpmjBFncVAndM4IL6YewF1BI8_oDZ0a28Myx-UfsYTQpKHJIJQZXgi-pwc.&URL=https%3a%2f%2fskydrive.live.com%2fredir.aspx%3fcid%3d38782d57161d1371%26page%3dplay%26resid%3d38782D57161D1371!107

The videos are in a link.. Enjoy!

 

Bill

Producer – Ben

Director – Bill

Camera – Megan

Editor – Justin

Set Design – Luke & Gary 

blog 9 is weakness oriented

http://changethis.com/

If you follow this link you can read th article by David Rendall about 9 ways to utilize our weakness

Most of the recommendations that David Rendall bring up are extremely specific and are not generally applicable to most situations.  While he does make an excellent point in that with each corresponding weakness there is a strength involved, there are times when the weakness can be overwhelming.  His examples are also limited and sometimes the people that are successful are only successful in the eye of the beholder. At one point he refers to someone that is an addict but then becomes addicted to something else but it still ruins his life. A lot of the things he points out are generic facts as well. This article recommends that people not attempt to fix their flaws like being unorganized, suggesting instead that they can become successful, dyslexic millionaires.  This is unrealistic although I can understand that if you find how you are unique and then capitalize on this concept than you can be successful.  The way that he generalizes and then defines being a freak is interesting although I am think that anyone could fit the description that he puts on freaks.  Does this mean that we are all freaks? Does this mean that every one is a unique creative genius? I do not think so, by saying that everyone is unique and generalizing this concept Rendall loses my interest.  He insists that people not be well rounded because he was mildly successful and a little lucky.

I find that my creative process is limited in some ways and is limitless in others.  While my weaknesses include being somewhat easily distracted I use this to my strength by allowing my ideas to grow upon one another based on interactions throughout the day. My creativity can be unlimited in a way that I am not afraid to try something new. I think that personally my creativity is sometimes limited by means to create but I find ways to use this lack of means to be more creative.  The creativity involved is my actual strength.  I think that creating is just a means of expression. This is my strength.  The projects that I have had chances to work on have allowed me to apply different creative ideas in different ways.  This has exposed various weaknesses and strengths.  I do agree with Rendall about there being weaknesses associated with strengths.  I have found that working with different people has allowed me to use my managerial skills to delegate and take advantage of others strengths. I believe my creativity combined with the delegation skills has allowed me to utilize others strengths and identify others strengths.  While I don’t have the means necessarily I have been able to produce highly creative projects. I think that my creativity combined with others creativity and my ability to utilize and identify the appropriate steps has led me to be successfully creative. Rendall asks us to limit ourselves but I do not think that this is an appropriate way to handle creativity.

Blog 8 Brainwashed

Follow this link to read the Brainwashed manifesto

http://changethis.com/

Learn

Generosity

Acknowledging the lizard

The three layers work with each other hand in hand.  The learning portion of Godin’s article is slightly contradictory to his opening statement in which he shows that we are being taught to learn, not being taught information that is necessary to survive because there are so many different ways to survive. The learning process is what is most important not the specific skill that they will teach you, such as quadratic formula. Generosity is also crucial as in these times people don’t want to pay for things unless they receive immediate gratification. As far as acknowledging the lizard he makes a point in that peoples fear holds them back from success. Between being generous and acknowledging the lizard, Godin applies these principles to worldly concepts.

The blogs that I have been creating this quarter reflect specific assignments used to aim my creativity.  I think this is an interesting way to force some creativity out of students that are otherwise stagnant in their creativity. Learning is necessary to the creative process, and without that then there would be no creative process.  Generosity plays a part in the creative process in a way that we have to share this creativity without people to pay for it.  Art is “free”. Acknowledging this creativity as a student to move forward is also necessary.  The layers that I have selected reflect what I feel is important in the creative process.  I am not sure whether or not that these exercises make me a better “student” but I definitely find them interesting. I also view the “lizard” the Godin refers to as a public nervousness of failure.  I disagree to an extent about what the actual lizard is but I do agree that there is certainly a fear of failure. I think that if people were generous with their art they can be more successfully.  The earlier that people can be generous then the sooner that they can be successful and face their fears. The lizard is an interesting example that Godin uses. The inner animal within us can sometimes be overwhelming and can take over. Acknowledging this inner fear or darkness can be one of the important things that a student has to deal with.  Personally I found that these projects allowed me to use different mediums to be creative. These creative outlets definitely spring new ideas within myself and allow me to use different tools to express, in my opinion, humor.  Even with the extra credit problem I attempted to express a type of generosity.  Also by working with different groups of people I have allowed some the inner walls that could be conceived as a “lizard” to be broken down.  In addition to that I have applied the learning principle to the different mediums that are available to students and people. Although the instructions say I should be concerned with a meaningful howl I believe this is actually referring to the acknowledgment of the lizard inside all of us.  I do not think that the exercises are pointless, I think they remove the “fear” of success that many students have.  By making it an assignment the students can happily use their creativity to the max without being ridiculed for being creative.

scene deconstruction

http://www.youtube.com/watch?v=1fuDDqU6n4o

Cool hand Luke

The theme of the movie is perseverance and determination.  The way that the angles of the camera in this scene show that there is an uphill struggle for the main character. The theme itself is didactic because of the way that the message is metaphorical through the prison warden’s main phrase “What we have here is a failure to communicate”.  This shows the fight that Paul Newman’s character does not agree with the way that the prison is being run.  This infers that there is a struggle between the two.

Movement is used by forcing Cool Hand Luke down the hill. This shows the dominance of the prison warden as well as it shows that the prison warden is threatened by the “coolness” of Luke and his popularity with the rest of the prisoners.  By using movement to force Luke down the hill the prison warden positions himself above the prisoner, creating dominance. The rhythm is shifted in the scene right before when Luke talks back to the warden. At the beginning of this scene the warden shifts the rhythm in his favor creating a momentum shift. Rhythm and movement work together in this scene to create one of the most memorable scenes of rebellion in the movie industry.  The movement is an example of the continuous repression used by the prison that Luke has to battle. This is evident throughout the movie as Luke is held down, forced to go to the box, made to dig pits incessantly until the prison breaks his spirit. However in this scene you can see that Luke never fully stays down showing that he is indomitable. The rhythm of the movie is one that builds up until the very end when Luke gets shot after repeating the phrase back to the prison warden and Boss Keen doesn’t take too kindly to this. The movie shows the way that he rolls down the hill through rhythm, Luke rolls with the punches because as the warden says, “He wants it that way”. The rhythm is consistent with the movement and Luke is the center of both.

Aqua Teen Hunger Force - Animation Deconstruction

I will be contrasting the Color and Lighting of these two images.  Both are from Aqua Teen Hunger Force but represent two different styles of art. The first shows them all in the backyard, it is not very sunny outside and the big thing that stands out with a strong saturation is what appears to be a giant floating jukebox. Also the characters that first draw your attention are directly under two lines and are in white, the only two white things in the picture. The bright hue of the jukebox grabs your attention to what is happening in the picture, the other things in the background don’t seem as important because they are blurrier, less colorful and do not have direction lines to lead you to them. In the second picture the core characters are in their living room. The colors are more saturated and focused on shading and detail with in the characters eyes and faces. The brightness of the character in the middle of the room is overbearing and is surrounded by the other two characters who are in a deep saturated red and reddish brown. The shadows of the characters in the second picture are much more detailed, showing what the characters are thinking with having any words in the shot. There is more symbolism in the second picture as well in that the middle character is smiling in white, while the other two are sad and angry and in red.  This connects red to sadness and anger.

            The mood reflected in the first picture shows a kind of surprise because all of the characters are wide eyed and there is lots of what appears to be blood on the two characters that the directional lines point you towards.  The mood in the second picture displays two things: Triumph in the middle character and disturbance in the other two characters.  Possibly the mood is more like  anger and stress and happiness depending on the character, the detail and shading on the face affects the mood of the characters compared to the first picture where the shadows are minor and light; whereas in this picture the characters are all more heavily shaded yet still the hue is bright and the colors are saturated more than the first one. The second picture is heavily shaded, has deeper colors and therefore creates more feelings and mood without depending on extraneous events to create mood, such as blood in the first picture.

Blogger Cassidy and The Storyboard kid

 

 

            While this scene was directed, the director did a really good job with direction and with using the 180 degree rule.  In every scene the camera stayed to the left of the characters as they moved left.  The characters are fleeing to the left away from some unseen aggravation, in this case police. On the second shot they are above the camera and then jump down, and when they pass the camera it changes to the next screen shot that shows them falling from right to left.  This is consistent with the direction, showing that they are not going back the way that they are apparently fleeing from.  If he did this then it would disorientate the viewers. 

            The rule of thirds is also used well. On the opening shot they are far away to the right, then they approach closer and closer until they get as close as they will get and they are in the middle of the shot.  Once there they continue their way to the left and get smaller entering the left third of the screen. Although the next screen the characters both fill the screen, on the third shot the director returns to the rule of thirds. Both the characters once again are in the right third at the top of the screen and as they fall they go to the middle and then a new shot takes place and the characters are on the left, showing their continued movement.  In the last shot they start on the left and it pans with them as they get to the middle of  shot. The camera holds them in the middle although it still has the dolly follow them until they reach the end of the cliff and it zooms out dramatically, still keeping them in the middle third, making it seem as though they have nowhere to go but to the right, from where they were fleeing. This keeps your attention on the characters.

          

          The director also uses the thirty rule, to an extent but not totally. From the first shot to the second shot the camera moves to the left and rotates to the right. The next shot also uses the tendency of the thirty rule for the third shot moving the camera back to the right at least 30% and then keeps that angle for the rest of the shot.

            

          The director does an excellent job following the rules.  This was a major film and the director showcases his talent for building and moving the story through proper camera use.

-Bill Ivan