Project 2. Process.

I tested numbers 10 to 8 using the collage framework, mostly to see if it would work at all. Thankfully, it did. Yes, the white balance is off and the tripod moved some, but now I know the collage number sequence will work. Looking at it in motion, I really wish I had attempted more numbers.

What I really need to perfect is the timing of the whole piece - it was more difficult than expected to stretch the breaking apart and coming back together into 15 frames. I'm also going to make the numbers much larger in the frame, so the details of the collage textures can be better seen.

...I also think I'm going to forego rotoscoping the numbers, as much as I'd like to further explore it, just for the sake of time.

Super Short Test!



New shooting method:
- Construct numbers "perfectly"
- For build sequence, shoot deconstruction of numbers and reverse
- Blow collage pieces away completely to deconstruct
- Start with next number

Project 2. Process.

Basically, I want to use these collaged figured, and with each second, a number builds out of the different abstract pieces of paper. I might try rotoscoping the figures using other mediums such as paint and pastel, to emulate the colour patterns for select frames. If not rotoscoping, I may create the figures on vellum one on top of the other to create a sense of "process" for the video piece.

Project 1. Test.

As a way of sort of storyboarding my concept for Project 1, I made a test video. In doing this, I quickly created a really rough version of what I plan to do for Project 1 just to kind of look at it visually. As I should have predicted, everything was a lot more difficult that expected.

Things to work on:
1. Make everything more cohesive.
2. Use a tripod!
3. Work on timing of video/sound.
4. Shoot more frames!
5. Use a wider angle.
6. Everything cleaner.
7. Abstract it more somehow?

I think the general idea of the video comes across in my test, but I still might work on the sound more. Another idea is building it on a flat surface like a table instead of free-standing so it's easier to add more frames. It may become less literal this way.

- - -

Other ideas:
- Everything high-contrast in black & white
- Clips (images) inserted between build images OR overlayed on top of?
- Zoomed in shots for variety
- Re-work sound to make it more subtle, but carrying the same ideas
- Somehow make it look messier (but in a good, cohesive, intentional way)

* Incorporate opening and closing credits.

- - -

Instead of using THREE different pieces, build on one:
- Take the idea of building with objects
- Instead of transitioning between three different pieces, just use one, but incorporate the concept through the way things are built and the objects that are used
- Start off building simply, but add on symbolic objects
- Use the frame, angles, interesting shots

Project 1. Ideas.

I have been racking my brain all week thinking about what I could do with my soundtrack in terms of visuals. It was really difficult to think of a concept that wasn't too literal while still expressing the ideas I had behind the sounds I put together. Unfortunately, inspiration didn't strike until today leaving me no chance to really put together a visual mock-up of my idea.

I think I have unwittingly been investigating the theme of "nostalgia" in my work this year. Basically, I would like to create a stop motion video in this sequence:

1. Childhood + Build-Up.

Building blocks (or similar childhood toy - lego, or some kind of stackable building toy) are constructing a tower piece by piece. I haven't decided yet if I want to depict a person building a structure or have the blocks stack themselves.

During this scene, the sounds with the laughing child and "happy birthday" music are playing.


2. The Crash.

There is a moment in my soundtrack where there is an abrupt, disruptive sound. When this occurs, I want to contrast the childhood building 'memory-like' scene by first having the building blocks crashing down and then with quick cuts of images that are visually disruptive and deal with real-life in a way. I haven't quite decided on these images, but possibly rainstorms, traffic lights and other similar images that are jumbled together.


3. Re-build.

After the crash, there is an attempt to build the structure again, but it isn't easy. Some of the blocks have been replaced with tangible, real-life objects such as money, large books and more "grown-up" items. The pieces don't come together right, and the structure eventually falls down again.

While this re-build occurs, the soundtrack plays loud voices that can't really be made out. There is also a crying baby in the background, but I may omit this from the video. One other aspect I'm not sure about is whether or not I should film the building block scenes on a "set" where a child would be playing, or simply against white.


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Essentially, the deeper idea behind this concept is exploring how much simpler things are as a child, and as you grow older you know more and not only do things grow more complicated, but you begin to complicate them in your head. You over-analyze and have to balance more "real" things like income, expenses, education, relationships, and the importance of each in your life. This can definitely be a struggle.

Exercise 3. Translation (The Process)

Exercise 3. Translation (Storyboard)

Exercise 3. Translation (The Plan)

Justin and I decided to create our translation video exercise based on Hockney's photo collages because we thought it would be interesting to witness the construction of such a collage, since the video needed to have some sort of build-up. Originally, we wanted to create the images using our hands on a flat surface, but David encouraged us to explore the different possibilities - to really exercise our creativity in how the image was created.



After much brainstorming, we developed a translation approach using strings, constructing the Hockney-esque image as if it was a puzzle. The pieces would come together piece-by-piece with hanging strings attached to different pieces of the image. We intended for the falling pieces to come together very smoothly, making it a creative approach to our original idea. Hockney's original artwork is static because it is a still image, but there is a sense of movement because of the collage effect. With our translation, we added a real sense of movement.

We decided to keep the images black and white so that they would come together to develop the final product more easily. We felt that if colour was also incorporated, the image would be harder to read in the end. We also decided to move the frame so that the image is more difficult to come to throughout the 30 seconds that creates it. In this sense, an expectation is established because the audience does not know what the final product will be. The camera's movement, panning, and focusing adds to this sense of expectation.