Tuba-Goose
Friday, June 9, 2017
A human thing
Thursday, June 1, 2017
Tuesday, May 16, 2017
Reaction Shot Take2
My first attempt at the reaction shot was an emulation one of
Michael Bay's "Bayhem" shots described by Tony Zhou in Every Frame a Painting. I hoped an
iconic cinematic shot with an over the top sense or “epicness” would have a
satirical effect, endearing the character to the audience through sympathy,
similar to the affection fans of the Charles M. Schultz have for Charlie Brown.
Beyham - "use of movement composition and fast editing to
create a sense of epic scale" through "layers of depth, parallax,
movement, character, and environment" (Zhao)
The performative function
of the reaction shot should be an alignment of the audience with the
protagonist and an introduction to the goose's vulnerability through a visible
awareness of his own fallibility. The intended perlocution is identification
and affection through empathy (naïve demeanor under threat), but early test
shots made it clear that the "Bayhem" shots were not going to be
effective.
Tony Zhou describes Michal
Bay's shots as having a good deal of “impact”, but more specifically there is
an awe and admiration for the character who is literally and figuratively
standing to face the challenging in a chaotic world. The Bayham primitive is awe
generated by a metaphoric link to imagery and conceptual conjugate.
Austin
categorized communicative failures, and Ronald Grimes wrote about the
application of his taxonomy to ritual failure. The failure of this shot might
fall under a “misinvocation” and/or a “misfire” because the act was “purported
but void” due to a “misexecution” vitiating the act through flaw. But I think
categorization of infelicities in narrative falls outside of Austin's scheme
because the projected application of his theory is radically different from the
nuances of performative narrative communication. For analysis of multiplatform
narrative communication classification of primitives through their relationship
to the perlocution would be the most effective tool for the deconstruction,
analysis, and construction of narrative performative acts.
Monday, April 17, 2017
Bay Reaction shot with a telephoto lens
https://en.wikipedia.org/wiki/Angle_of_view#Focal_length
I don't think Michael bay is using a telephoto lens in most of these shots.
35mm equivalent
https://en.wikipedia.org/wiki/Angle_of_view#cite_note-17
I don't think Michael bay is using a telephoto lens in most of these shots.
35mm equivalent
fl 85 | diagonal angle 28.6 | Vertical 16.1 | Horizontal 23.9 |
The background is very blurry. If the focal length is 85, the angle of view is approximately 16 X 24 degrees.
The subject would have to be about 86 feet away (arc tan of 16 degrees) to get 3 feet vertical (it would wind up smaller with the crop factor https://en.wikipedia.org/wiki/Crop_factor).
With an f/1.4 the background would have to be more than 1000 feet away...
http://www.photopills.com/calculators/dof
a few Bay shots
https://youtu.be/2THVvshvq0Q?t=1m41s
Wednesday, April 12, 2017
the reaction shot
I have been out of comission for a few days, and I am on pain medication, so forgive me if my focus drifts.
I have decided to emulate one of Michael Bay's "Bayhem" (I am going to make an orbiting/rising dolly zoom) shots for the reaction shot because they are iconic cinematic shots that give an over the top sense or epicness,
Beyham - "use of movement composition and fast editing to create a sense of epic scale"
Beyham - "use of movement composition and fast editing to create a sense of epic scale"
these require "layers of depth, parallax, movement, character, and environment"
"lots of things of varying size in the same shot and move the camera to emphasize."
"lots of things of varying size in the same shot and move the camera to emphasize."
Every Frame a Painting season 1 episode 7 Michael Bay - What Is Bayhem? by Tony Zhou
direct link to the video
The layers require a lot of objects and a detailed model, which is a lot of work, but I plan on trying the textured models in a reshoot of the "Text World" shot with a more appropriate font.
Tuesday, March 28, 2017
Getting unstuck
I don't really understand why I am detailing my meanderings with my theory, so the direction has been a bit chaotic. In an attempt to put words to paper, I am starting with a performative breakdown of the elements and trying to transform it into a detail of how the theory worked in practice.
The Form through the
Formula
The technical, visual
aesthetic, and formal linguistic (semantic/lexical/phonemic) decisions were
informed by the performative function of each element and a counterpoint
between the circular form of the goose's (heroe's) journey, interactive
paradigm, suggestion of indexicality, character arc, and the indexical
allusions of the aesthetic.
The interface changes from a book to an interactive animation at a moment
in the story when the protagonist is out of his element. This is done in order
to generate a disorientation for the audience and identification with the
protagonist through a common experience. In order to be effective, the audience
has to expect the interface to behave like a book. For this reason, several of
the aesthetic decisions in the beginning of the story and the end are made in
an attempt to evoke the presence of a book (my ideas of evoking presence are
based on the “aura” described by Walter Benjamin in “The Work of Art in the Age
of Mechanical Reproduction”, but I do not think the actual artifact needs to be
there to generate a similar sensation).
Examples of illusory imagery
to imply indexicality are in the “book opening” animation, the “vine text”
animation, and the sound of a page turning that accompanies the transitions
between the scenes when the goose is in the human world. The performative
function of the opening imagery, interaction,
and animations associated with the experience of reading a book (i.e. paper texture, shading, and
sound of paper) is to mislead the audience to anticipate the experience to be similar
to reading a story from a book and the dramatic effect when the expectation is
broken.
|
|
Locution
|
imagery, interaction,
and animations associated with the experience of reading a book (i.e. foliage, shadow, imagery/sound
of paper)
|
Illocution
|
suggest that the audience is holding a book
|
Perlocution
|
suspension of the awareness of
the digital medium
|
Primitive
|
sound, interaction, and imagery with
shading and dimensionality consistent with an object in the viewer’s space
|
Constative
|
this is an animation of a book
|
Explicit Performative Function
|
mislead the audience (i. e.
build an expectation that the experience will be like a book in order to
break the expectation for dramatic effect)
|
Cited:
Benjamin, Walter. “The Work of Art in the Age of Mechanical
Reproduction.” Film Theory and Criticism:
Introductory Readings, edited by Braudy, Leo and Cohen, Marshall, New York:
Oxford University Press, 2009. Print.
Subscribe to:
Posts (Atom)