Neon Bible

The concept of interactive music video is a relatively new one. And a handful of directors have started to dice with the idea experimentally. Neon Bible’s interactivity gives more of a depth to the experience. Allowing control of the video itself gives a sense of fun for the interactor, and provides replayability. It also adds a whole new reason to send this new experience to your friends, creating a far greater audience.  Before the virality of the internet this video could only have been seen in galleries and media spaces. But since social networking and unlimited connectivity has arrived the spectrum of potential viewers is infinite, thus creating an ever greater need to attract people through innovating tech that can be picked up virally and expanded exponentially. 

My personal feelings are of indifference to the particular song but enjoyment of the concept of an interactive music video. With ever broadening horizons in technology, there will be ever constantly evolving ways to experience music video and media in general. The next being perhaps physical, or three dimensional experiences, touch and emotion involved or brain controlled.

In creating homage to neon bible; without the interactivity as we are not yet that advanced in our production, was a good experience. Learning involved lighting setup, new editing skills and new ideas and possibilities. We used beads to create the effect of rain and a book in reference to a bible. In retrospect I think the finished product could have been more attractive but we showed we have learned the techniques necessary.

http://www.beonlineb.com/

Single Camera Production

As its name suggests, a production using the single-camera setup generally employs just one camera. Each of the various shots and camera angles is taken using the same camera, which is moved and reset to get each shot or new angle. The lighting setup is typically reconfigured for each camera setup.

In contrast, a multi-camera setup consists of multiple cameras arranged to capture all of the different shots (camera angles) of the scene simultaneously, and the set must be lit to accommodate all camera setups concurrently. Multi-camera production generally results in faster but less versatile photography.

In single-camera, if a scene cuts back and forth between actor A and actor B, the director will first point the camera towards A and shoot shots number 1, 3, 5, 7, and so on. Then they will point the camera toward B and do shots number 2, 4, 6, 8, and so on. In the post production editing process, the shots will be assembled into their final order. In contrast, multiple-camera shooting would record a variety of angles of actors A and B simultaneously; the director would then have the choice of switching among the angles while the program is being recorded (or broadcast) or recording all shots and cutting them together in post production. Further, single-camera productions tend to cluster the shooting of all the scenes that utilize a certain set and cast, while most multiple-camera productions are shot "in sequence"—the shooting progressing sequentially through the script.

The single-camera setup gives the director more control over each shot, but is more time consuming and expensive than multiple-camera. The choice of single-camera or multiple-camera setups is made separately from the choice of film or video (that is, either setup can be shot in either film or video). However, multiple-camera setups shot on video can be switched "live to tape" during the performance, while setups shot on film still require that the various camera angles be edited together later.

The single-camera setup originally developed during the birth of the classical Hollywood cinema in the 1910s and has remained the standard mode of production in the cinema. In television, however, a multiple-camera setup is just as common.

Single Camera Drama

The coffee cup

                    

This project presented many challenges throughout the progression of the task. Using one camera is hard on its own, but when using it in a confined space it provides a considerably ready disposition to failure. But in an effort to incur a redoubtable efficiency upon myself I persevered in filming a somewhat valued picture for my fellow compatriots.  The idea was to use one camera to observe and document two people whilst conversing. The setting of a call centre seemed adequate so we set about devising a script appropriate with the setting.  Once achieving this we decided upon the correct clothing and after finding an empty computer scenario set about filming the narrative.

The room was small and cramped and stuffy. Soon enough we started to become aggravated with our surroundings, but the production came together by parking the camera in corners, pointing it through windows and further places throughout the room. In trying to create the illusion of a larger space, we inserted cutaways of keyboards to maintain the façade of the office environment. We used a single headset on both actors to involve phone communication. As goes for planning there wasn’t much more than script, costume and prop for consideration but this is how we like to work, on location, where you can get much more of a feel for your surroundings, and decide on how to mould your own designs into a reality around the solidity of your environment.

Overall I think the production went well, although we had to lose some of the story in the edit because we only had half of a conversation on film, precisely because of only having one camera. But nevertheless it is amusing and not highly offensive to look at, which might be underplaying it but I am my own worst critic. 

Submarine

A Refreshed Cinematist

For the young, the smart, the bound by youthful composition and novel design, for the principles of a remembered youth.  Here lays a film proposing such notions with an optimistic scale, amongst many indie spirited sorts of movies it portrays seemingly insignificant lives in a purposeful light (Brick, Juno). With some much defined mannerisms it comes to display delicately these definitions of purpose upon those who may or may have not have experienced such troubles, those being so unlucky may have something of a more hearty affection for such a tale. A story of a boy, which half of us are, a story of the love of two kinds, which some might be lucky to regard and a story of loss which in the current climate of domestic disaster we all might have some experience of. Touching elements that I am sure must have been a great definition of Richard Ayoade's childhood.

Oliver Tate (Craig Roberts) is a duffle coat adorned affluent who sees himself as a less than violent hero who displays his story as he sees fit. His character is consistently divulged with an adult retrospective that allows him to have a wisdomic overview that would be highly envied amongst youths and this gives him a very affable appeal. Oliver develops an infatuation with Jordana (Yasmin Page) who is a red coat wearing dark intelligent and difficult character that he projects onto an affection of a masculine intent. Whilst trying to balance life, love and parental division he befronts the task of using rather clumsy and amusing tactics to solve all these negatively affected prospects he is rapt by.

My personal feelings where that of the correct majority, I thought it was a refreshingly original expression of British film. It is despite Richard Ayoade’s history in television a very beautifully cinematic film. I found it funny and touching, edgy but truthful experience that I will enjoy again.

The Waiting Room

This project is enabled us to view time in a slanted sense. To be deemed as a longer period than what it seems. By using wide shots and concerned speculative images we make the film seem unhurried and hesitant. Anxious expressions and nervous body language, close ups create a time consumed atmosphere that deliberately turns a sullen situation into a hopelessly eternal one. Our project was about a person in an S.T.D clinic waiting room.  The subject is awaiting his results and is very troubled. His surroundings seem to meld around him into a solemn decapitation of happiness encumbered by his anticipation of his fate. Other attendee’s arrive and depart with aspirations of hope and severe pain. 

Black Box Work - Split Screen

Split screen is used to portray two different corresponding aspects of a scene or story line. It is usually utilised both shots in real-time.
When a ascending story arc is cascading towards the culmination of a significant plot line. Many directors have been known to practise this technique in order to apply drama to a scene.
The technique breaches the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye.

My split screen production however was not to utilise these ideas and was a considerable failure. This was due to a large proportion of our film being lost during post production.
And so my computer defouled editing mishappenings and lack luckiness continues into the second term. To say anymore on this matter is a waste of time and I assume you agree entirely with my very own diagnosis that it is a considerble piece of crap.

Split Screen - Timecode