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Category Archives: Time-based Communication 1

Here’s something I just came by on youtube which has some very odd shots, which could work as loops.

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Watch as loop here

Rationale

Chase is a conceptual video based around the idea of a loop, but also inspired by cinematic single take shots (such as the title sequence of JCVD). The goal was to take this sequence further and create a feeling of confusion on the part of the audience. When watching the loop; your view should sway between being chased and doing the chasing. There is also a presence of a dream like state when you continuously watch the loop run, the seamless transitions are meant to loss the viewer in never being able to out run or catch up to the subject. To further this feeling there are unexplainable illusions throughout the scene, the subject in the shot seems to jump between locations while the camera follows a set path. Finally the SFX were kept very subtle, with no music or specifically distinct sounds, to eliminate predictable auditory cues when running the video in a loop.

 

Some Inspiration

 

Location







 

Panorama

Some slow motion experiments shot on Sheridan’s Sony HVR-V1U camera.

Design Statement & Rationale

My goal for the 10 second academy leader was to capture and create a visual narrative from existing objects – as opposed to superimposing the numbers. I thought that a pinball machine would give me a good opportunity to play with the sequencing of graphics that you would typically find on one. It also allowed me to use the different components of the table (ball, flippers, lights, etc.) to enhance the aesthetic I was looking for.

While I did manage to get access to eight pinball machines, each with a variety of numbers, it proved impossible to just straight forward shoot and edit the sequence – a little After Effects compositing magic was necessary.

The biggest challenge was controlling the visual distractions in the compositions while focusing the user’s attention on the numbers. After completing my first rough edit I found that there was too much irregularity between the sequence numbers to distinguish them from other elements on the screen. To solve this I used After Effects and Photoshop to control when each number lit up (each lights up exactly 10 frames into each second). I also timed other elements (balls rolling, flippers moving, lights flashing) to synchronize with the timing of the numbers. This created a consistency and rhythm that was easier for the viewer to understand. It also naturally drew the eye to the numbers through the use of motion.

Finally the short intro and credits where designed to complete the experience of playing pinball – as in starting a game (using the plunger), and finishing (viewing the highscore).

 

After Effects Insight

 

 

 

 

Project 1 Rationale

Keep Smiling is an exploration in the synthesis of visual and audio elements expressing the theme (noun) of anticipation (but just as easily relating to tension and anxiety). Similarly I choose a grouping of verbs (drill, pierce, repulse, scrape, etc.) to guide my sound design.

The video begins in a very serene state, a blank screen with only a barely audible clock ticking. This is meant to communicate a relatable feeling to the audience – that of falling asleep or relaxation. It also acts as a sort of norm that will soon be disturbed with the build up of sound and image.

The first instance of this occurs when the viewer hears footsteps pass by, signifying that they are not alone. But the sound is muffled, it is occurring outside of the viewer’s room. You are still safe. This separation/privacy is broken as someone soon enters the room, the viewer is no longer alone, and the serene blank screen is replaced with a glaring white light. Now the claiming, predictable sound of the clock ticking in the left ear is challenged by aggressive noise from the right. This tension exists throughout the whole video; it is up to the viewer’s subconscious to determine when the clock has stopped ticking.

Familiar noises start to pour in, each one more aggressive then the last. There is another person in the audience’s presences but no visual or audio communication between the two. Instead the dominant sounds are sharp and metallic. There is an added flash of imagery as particular sounds occur – this is meant to disrupt the viewer, to question what they are hearing by directly placing an image in front of them. Since the image only appears for a fraction of a second the viewer cannot fixate on it for to long before being consumed by the next. This also echoes the loss of control exemplified by the static shot throughout the video.

Soon the building tension approaches from the right and converges on the viewer, now filling both the right and left audio channels. The audience can now hear someone breathe over them. The sound intensives as switches are flipped and mechanical noises heard in intimate proximity. By now the intensity of the light has increased significantly. A final swallow is heard from the person who the audience has become; a sort of final presence before the viewer is completely muted by the noise of suction inside their head. Finally the dramatic dentist drill comes down in a climactic finish, breaking the connection to the light and completely drowning the audio in a piercing and grinding sound so familiar to the dentist.

Here is the Sound Essay for ‘Keep Smiling’. Video and Rationale available above.

PART A

Inside (Tunnel connecting B Wing to A Wing)
• paper bag crumpling
• even footsteps followed by plastic wheels rolling by
• door creeks open far away
• a person drags their shoes along the floor, slowly, pausing
• coins jingle in pocket
• keys jingle in pocket
• constant noise/unrecognizable chatter from far away
• beep (access card is swiped). Door opens
• Flip flops clack in the distance
• Laughter
• A table is dragged
• Jeans swoosh together; the pull tab from a zipper shakes
• Slippers clank by
• Loud solid heels walk by
• Someone runs by
• Door creeks open, at it closes it hits the frame, bounces off, and hits it again
• A man yells in the distance
• A conversation: ‘3, “how many?”, ‘3’, “3!”

Outside (Behind cafeteria, patio furniture, children’s daycare nearby)
• Kids playing, chanting/singing
• Ventilation/fan (white noise)
• Light paper crumpling
• Woman has a phone conversation
• Keys jingle
• Shoes drag across the floor, as they stop a door opens
• Bee (zzzz’s by ear)
• Door shuts
• Kids continue to chant (one girl seems to dominate)
• Paper crumples by
• Plane flies overhead
• Truck starts engine, releases air from hydraulics and drives forward
• Breaks squeal
• ‘Clack clack’ (something hitting?)
• Ding, ding – bike bell
• Engine shuts off
• Leaves ruffling

The particular sounds that were of dominance seemed to be everyday familiar things (shoes, footsteps, doors). Other sounds that dominated were more obvious loud, sharp sounds, something like change jingling. It was also interesting that when I heard a sound it almost became more common and easier to hear again. There were also sequences of sounds that once fixated on I stuck with them ignoring others (for example a truck which started its engine, released hydraulics, drove, turned off engine, etc.)

PART B
Sound recording was taken inside a Go bus heading from Sheridan to Square One. I’ve mostly described the sound and left the feeling/thought/etc out to see if the sound provokes something for you.

Sound that evoke an image:

  1. Clacking of a flip phone closing shut.
  2. Ruffling of soft plastic bag.

Images that evoke a sound:

  1. Overhead red plastic button labeled ‘Stop’.
  2. Traffic racing by outside the bus window, overpowered by the sound inside the bus.

Sound that provoke a feeling:

  1. Ambient noise inside the Go bus (humming of fans, chatter, cracking of plastic interior)
  2. Velcro strip separating

Sounds that provoke a thought:

  1. Driver announces stop over intercom
  2. Page flipping from textbook

Sounds that compete with an image:

  1. ?
  2. ?

Sounds that work counter to an image:

  1. Visible outside the window is a farm landscape, it’s presuming claim disturbed by the loud ambient noise inside the bus.
  2. ?

Sounds that were easiest to describe were those that seem very common such as the flip phone closing or plastic bag ruffling – I got these almost instantly. More difficult were finding competing images and sounds. I think this may be a result from the high level of ambient noise in the bus and relatively little visual stimulation/change.

I’m also interested if any of you guys, particularly those that don’t take the go bus, have feelings/thoughts provoked by the descriptions – so feel free to leave a comment.

 

Fruit Architect is an exploration in anticipation of form. By working with a consistent pace and suggestive frame composition the viewer should quickly understand what is to come. This could potentially play as a setup to something unexpected like having the stack fall over, or change into Jenga Blocks.

Here’s another time-lapse I did a couple weeks back while making my way to Roger Wood’s studio to shoot the clocks.

For Exercise 1 Light/Duration we decided to explore an unconventional method in time-lapse photography – having our composition partially change (partially because our subject, Kyle, is always in the same place but the camera is obviously rotating.)

This approach has similarities to more traditional time-lapse (changing background, light, and shadows) but manages to do it in a fraction of the time.

We initially framed the composition in a way to capture the changing environment around our subject. A few shoots in we started noticing that Kyle’s shadow was really emphasizing the change in light and acting almost as a clock hand. Once we got the images on the computer you could see the change in light/shadows on Kyle even more.

Measure was created by: Matt Wiechec, Shawn Mahabir, Kyle Dutka, and Payam Rajabi.