Archive for the ‘TV1’ Category
July 2nd, 2009 Posted 7:40 PM
I do love this one, the shooting time is only one day, but the edting period is one year.
So we can see how huge project on the edting he did, and how much effort on it. The great effects and visual impacts are quite succesful.
June 10th, 2009 Posted 8:16 PM
We Have Band -You Came Out – official music video. Created by W+K creative team Ida Gronblom & Fabian Berglund and Blinkink director David Wilson. The face paint animation film is made up of 4,816 separate stills. Each and every frame was hand-painted, shot, wiped off and redrawn, slightly differently for the next frame in order to create a seamless sequence. This time-consuming process involved the band members lying still for two consecutive days in a studio.
In order to animate the singing bit, lip movement was created by animating a painted mouth on the singer Dede. This involved breaking the lyrics into phonetics and giving each sound a specific mouth shape. To make this as realistic as possible all the mouth shapes were painted on Dedes face individually and then shot. All 4,816 frames of the music video can be found on Flickr http://www.flickr.com/photos/39167181…
The single is released June 15th on Kill Em All Records -
June 1st, 2009 Posted 8:18 PM
I admire the editing on the still pictures and the ideas.
Actually it is really cool to watch.
To keep the same thing in the frame , and change the situation of this thing. And it is very impressive to see how it appears in different places.
What a fantastic dream. We cannot ignore the creative method to do .
I do not how much time the editor spent and how long for the real shooting.
But the thing we see is that how they changed the plain point of view on the usual life.
With the fast pace of the moving bed, the location changed as well. But i am thinking about how to make the whole thing continued, which lied to our eyes, and our eyes do like watching and believe that is ‘real’.
It is not easy to work on the still camera, and makes everything works like video-camera.
To make still things moving , and make them real, it is the thing I really want to learn and try.
Here is a video I did for an experinment for the fist semester of last year:
and another one is for network media website
May 28th, 2009 Posted 5:00 PM
He is just not that into you – an excellent plot
With the hot topic between guys and girls, dating, marriage and relationship.
With smashing words, to make the whole film more sparkling.
And the narrative is very great: it seems simple, but it has five relationships between those characters, and also some characters are related into 2 or 3 relationships, which makes the topic of guys and girls more complex. Everyone can be interconnected in the story, that is amazing to watch. They are all trying to read the signs of the opposite sex, and hoping to be the exceptions to the “no-exceptions” rule.
The film starts from a young girl’s curiosity about relationship -thinking about guys’ thoughts. And then several montages come from different perspectives and with different cultural and social backgrounds
But within the same topic: I am sure …he is into you he got crash on you he cares about you , he likes you ….
“Why do we say this to each other?
Is it possible that because that we are too scared, and too hard to decide one obvious truth that scares everyone’s face?”
This is good method to start the story with several questions, which leads audience to find answers from what happens next. And here there is “we” that makes closer to the audience (especially female audience). This movie makes me think of a sentence: “what’s in a name, a rose by any other name would smell as sweet? “
“If a guy doesn’t call you, he doesn’t want to call you. Always.”
” everything has its exception , not the rule…the exception is the rule”
“Maybe happy ending is not always about “live happily ever after”. Maybe it’s about freeing yourself up for something better in the future.”
Girls are taught a lot of stuff growing up:
If a guy punches you, he likes you.
Never try to trim your own bangs.
And someday you will meet a wonderful guy and get your very own happy ending.
…and your commitment to each other.
Every movie we see,
every story we’re told…
…implores us to wait for it.
The third act twist:
The unexpected declaration of love.
The exception to the rule.
But sometimes we’re so focused
on finding our happy ending…
…we don’t learn how to read the signs.
How to tell the ones who want us from the ones who don’t.
The ones who will stay from the ones who will leave.
And maybe this happy ending doesn’t include a wonderful guy.
Maybe it’s you…
…on your own…
…picking up the pieces and starting over.
Freeing yourself up for something better in the future.
Maybe the happy ending is just…
Or maybe the happy ending is this:
Knowing that through all the unreturned phone calls and broken hearts…
…through all the blunders and misread signals…
…through all of the pain and embarrassment…
…you never, ever gave up hope.
May 23rd, 2009 Posted 11:37 PM
Before our real shooting day, Paul suggests us to pick one scene of our favourite drama and analysis technique methods of it. I picked Gossip Girl , not only because it is my favourite ( I do love it actually), but also it is similar with the script we gonna film tomorrow. Anyway, Good luck to all the group members!
1st shot: foreground : CU of Chuck: moves from left to right
Then Blair’s voice comes first, then Blair comes(M to MCU)—2nd short (left to right) connected to the next shot . 3rd shot : Blair’s face to the screen, Chuck opposite as foreground but out of focus
So we can see this scene Blair is the important part , because she is on focus, got more light on her face, sound is louder than Chuck’s (maybe not in tension)
4th and 5th shot are similar with 2nd and 3rd shots, but camera moves towards the characters, which makes audience more into what is happening between them.
6th and 7th shot : MCU of B and C, similar with d4th and 5th
8th Blair moves towards to C, movement continues , then cuts to 9th, quickly cuts to 10th(but at the other side)
…… 14th : B”I love you” , CU of B and C. fast cuts to CU of C, at the same time, camera tilts (right?) up a little bit in a smooth movement. It shows the C’s reactions and he is not like looking down , so means the situation or the inside of the character changes. (15,16 ) 17 th CU of C , out from screen
18 car leaves
19 MCU of B ,looks to the right side
I love the colour of B’s dresses, also matches with V’s dress. Both delightful, works with the candle’s light and window’s sunlight.
1st scene: dark exposure, classical cuts for two people’s conversation . depends on the atmosphere.
2nd strong contrast with the 1st scene: bright dinning scene, lighting on people’s head, hair and background
3rd: I like the position of this conversation scene : lighting is balanced by comparing previous two shots , S walks to R , camera quickly moves from S to S and R. And several smart quick cuts follows of two people’s eye lines.
When S comes to D’s room, Camera moves smoothly follows of D’s eyeline : from CU of Dan to the door -→ Door opens, S comes in.
Last shot may be useful for our ending scene shooting : CU of S and D, cut, outside view of them (shadow, light) , camera moves away .
May 23rd, 2009 Posted 7:38 PM
May 18th, 2009 Posted 10:52 PM
To build the video awareness, we can make it more clear to think about our
May 12th, 2009 Posted 6:07 PM
Lens angles: distance, and details.
The Iris: controls the amount of light entering the camera, brightness-can be adjusted via CCUs(camera control units) from the studio control room or OB (outside broadcast) van. -not recommended on the automatic iris
High Speed Shutter: increase the shutter speed, increase the speed of action , which you can capture clearly
Confusing Buttons: high speed shutter and manual iris control
Gain: the gain allows the camera to electronically boost the brightness level of the signal it[s processing.
Auto focus: do not use when : reflective surfaces; little contrast,;slant way from you ; quite dark
How to focus: zoom in -→ eyes/mouth-→turn the focus ring until the image is as clear as possible→ zoom out
Fixing a Back Focus : make certain the subject clear focus→ zoom out all the way and turn the back focus ring until get the sharp picture
Macro: close-up lens
Focus on more than 1 subject: refocus on each subject
Focus emergencies: zoom out immediately and stay in side angle until the person settles down into a new position
Depth of Field
White balance: manual mode→ zoom in on a white care (under the same light as the subject) → hold hold the white balance button down till conleted ; can be creative
A=All auto is off
N-Neutral density is off
E-re-check frame /focus and record
L.L-logging and labeling
May 8th, 2009 Posted 3:35 PM
This is the Lenny 2, which it is the first time I worked with my group members.
During the editing , I found there are a lot of problems , like the contiuety of the differents shots–the different actions and positions of the actor may be noticed by audience.
May 4th, 2009 Posted 6:47 PM
“What you put in the frame is a major decision”
I love this quote
“Where I place the camera is very often determined by having to replay the right information”
It is really a matter of the angle, even when you are moving the camera
It is important on the level of how much information, how much you want the audience to see, and somehow there is an emotional thing too.
However I do not really like the film, which has too many long takes, it will make my eyes tired soon. But what I like is the long take with many motions and enough power to keep our eyes on it.
And his words remind us to think more about the camera position, angle, the look of the film, background and foreground,
I love Martin Scorsese’s films , especially his Raging Bull and The age of Innocence.
The camera position and mise-en-sene are all fantastic.
The colours with emotions, stable or smooth movements, all having meanings.
photo from www.wisconsinhistory.org
- Wipe in & wipe out
It’s one of the styles that Scorsese use in this film that reminded us a lot on classical Hollywood films especially before the color era.
The use of wipe in symbolize the closing curtain of Archer’s freedom as the narrator says, “With a chill, he knew that in the future, many problems would be solved for him in this same way” and the medium close up of Archer and May sitting in silence began to wipe in.
The use of wipe out is to symbolize the new start as this time Archer start to realize that his life now will always be a set of compromises which he has to make with May and mostly those are the unpleasant ones. His ideology is clearly different from May’s because they are two people from different world. Archer is a person who dreams of new possibilities and longing for the life of imaginations rather than the reality that he lives in.
The Colour Bursts
Scorsese uses color to express different kind of emotions. This film has rich color and texture. Although Scorsese uses a lot of shots of different paintings that tell stories, his film itself is a painting and to liven up that impression, he uses color to distinguish the shifting mood.
The color expressed Ellen’s anger when New York decline to go to her welcome party. She will later learn that the society she’s living with now is not less torturing than the live that she had with her husband. When the voice-over says, ‘The refusals were more than a simple snubbing. They were an eradication’, Ellen looks towards the camera and the red color burst onto the screen.
When she gets the yellow roses from anonymous sender, the color bursts into yellow. Yellow represents happiness and it is a color that has the expression of Ellen’s spontaneity.
When the narrator says, ‘She remained in his memory simply as the most plaintive and poignant of a line of ghost’, the image started to burst into white color which lead us to the next scene of the archery match. The white color in here represents exactly like what the narrator said about Ellen. Ellen has remained as a memory that Archer tries to fade away. White represents past but mostly the sad one.
The Mobile Frame
The use of mobile frame is not unusual anymore in this film. A lot of tracking is being used whether in the dinner party or the ballroom scene. The camera gives enough time for May to walk as gracefully as she can by using tracking. As she started to walk towards the camera into a big close up, her movement started to be in a slow motion. From the way she walks and her facial expression, we can see the changes from her character. She becomes more mature and elegant.
Lots of dissolves are being used in the film. Mainly it is to create the sense of elegant movement by using dissolves every now and then.
Low angle on May while she’s preparing to aim and taking her shots. The angle affects our perception on May’s figure. It creates a sense of authority and strength. It’s focusing on her classy movement even when she’s in the archery match.