5.11.09
19.10.09
Task 2.4 Post production
2.4 The post-production stage will need to be conducted within college and during production lessons and done on your own; you must include along with the final edited video the following forms.
Tape log sheet
Paper edit decision list
Paper edit decision list
Tasks 2,3 Grade focus Unit 34 P2,P3,M2,M3 D2 and D3
Tasks 2,3 are production and post production focuses on criteria P2P3,M2,M3 D2 and D3 of unit 34. Please read the sections below to help you when producing task one
Unit 34.2
P2. To achieve this grade you would need to
originate and develop a video piece for
exhibition in a specific location working
within appropriate conventions
M2. To achieve this grade you would need to
originate and develop a video piece for
exhibition in a specific location showing
some imagination
D2. To achieve this grade you would need to
originate and develop a video piece for
exhibition in a specific location showing
creativity and flair
Unit 34.3
P3. To achieve this grade you would need to
produce a video piece for exhibition in a
specific location working within
appropriate conventions and with some
assistance .
M3. To achieve this grade you would need to
produce a video piece for exhibition in a
specific location competently showing
some imagination and with only
occasional assistance
D3. To achieve this grade you would need to
produce a video piece for exhibition in a
specific location of technical quality that
reflects near-professional standards
showing creativity and flair, working
independently to professional
expectations
Unit 34.2
P2. To achieve this grade you would need to
originate and develop a video piece for
exhibition in a specific location working
within appropriate conventions
M2. To achieve this grade you would need to
originate and develop a video piece for
exhibition in a specific location showing
some imagination
D2. To achieve this grade you would need to
originate and develop a video piece for
exhibition in a specific location showing
creativity and flair
Unit 34.3
P3. To achieve this grade you would need to
produce a video piece for exhibition in a
specific location working within
appropriate conventions and with some
assistance .
M3. To achieve this grade you would need to
produce a video piece for exhibition in a
specific location competently showing
some imagination and with only
occasional assistance
D3. To achieve this grade you would need to
produce a video piece for exhibition in a
specific location of technical quality that
reflects near-professional standards
showing creativity and flair, working
independently to professional
expectations
Task 2.3 Production and Post-production Diary
2.3 The production and post-production diary may be evidenced in any of the following ways.
Written diary or,
Video Diary or
Audio Diary or.
The diary must indicate all of the decisions taken during the production stage or the assignment; you should indicate and reflect in the diary any of the changes that you made to your initial idea.
Written diary or,
Video Diary or
Audio Diary or.
The diary must indicate all of the decisions taken during the production stage or the assignment; you should indicate and reflect in the diary any of the changes that you made to your initial idea.
Task 2.2 Exhibition/Installation Plan
2.2 You will need to plan an exhibition for your video. Your video will need to be installed and then viewed by an audience of your peers and possibly the general public. As evidence you will need to complete the following work.
1 Synopsis of your installation. This needs to contain Time, Date, Location and details about your audience. You will also need to create a rational for why you have chosen the space and why it is relevant to the video.
2 Detailed layout/plan of how the installation might look, including pictures and diagrams.
See examples
3 A questionnaire/form that you will use for getting feedback from the audience.
2.1 Storyboards, Animatics, Photomatics
As part of your pre-production you will be creating a storyboard using drawn sketches of your shot types or photographs. You will then use these sketches/photographs to create and Animatic or Photomatic. This video will be posted onto your blog.
StoryboardsA film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement.
In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently described either in picture, or in additional text.
Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Other directors storyboard only certain scenes, or none at all. Animation directors are usually required to storyboard extensively, sometimes in place of doing a script.
Animatics
In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.
This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage can avoid animation of scenes that would be edited out of the film. Animation is usually an expensive process, so there should be a minimum "deleted scenes" if the film is to be completed within budget.
Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together. Some feature film DVD special features include production animatics.
Photomatic
A Photomatic is a series of still photographs edited together and presented on screen in a sequence. Usually, a voice-over, soundtrack and sound effects are added to the piece to create a presentation to show how a film could be shot and cut together. Increasingly used by advertisers and advertising agencies to research the effectiveness of their proposed storyboard before committing to a 'full up' television advertisement.
The photomatic is usually a research tool, similar to an animatic, in that it represents the work to a test audience so that the commissioners of the work can gauge its effectiveness.
Originally, photographs were taken using colour negative film. A selection would be made from contact sheets and prints made. The prints would be placed on a rostrum and recorded to videotape using a standard video camera. Any moves, pans or zooms would have to be made in camera. The capured scenes could then be edited.
Digital photography, web access to stock photography and Non-linear editing programs have had a marked impact on this way of film making also leading to the term 'digimatic'. Images can be shot and edited very quickly to allow important creative decisions to be made 'live'. Photo composite animations can build intricate scenes that would normally be beyond many test film budgets.
The term 'photomatic' is probably derived from 'animatic' or photo-animation.
Sourced from Wikipedia http://en.wikipedia.org/wiki/Storyboard
StoryboardsA film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement.
In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently described either in picture, or in additional text.
Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Other directors storyboard only certain scenes, or none at all. Animation directors are usually required to storyboard extensively, sometimes in place of doing a script.
Animatics
In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.
This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage can avoid animation of scenes that would be edited out of the film. Animation is usually an expensive process, so there should be a minimum "deleted scenes" if the film is to be completed within budget.
Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together. Some feature film DVD special features include production animatics.
Photomatic
A Photomatic is a series of still photographs edited together and presented on screen in a sequence. Usually, a voice-over, soundtrack and sound effects are added to the piece to create a presentation to show how a film could be shot and cut together. Increasingly used by advertisers and advertising agencies to research the effectiveness of their proposed storyboard before committing to a 'full up' television advertisement.
The photomatic is usually a research tool, similar to an animatic, in that it represents the work to a test audience so that the commissioners of the work can gauge its effectiveness.
Originally, photographs were taken using colour negative film. A selection would be made from contact sheets and prints made. The prints would be placed on a rostrum and recorded to videotape using a standard video camera. Any moves, pans or zooms would have to be made in camera. The capured scenes could then be edited.
Digital photography, web access to stock photography and Non-linear editing programs have had a marked impact on this way of film making also leading to the term 'digimatic'. Images can be shot and edited very quickly to allow important creative decisions to be made 'live'. Photo composite animations can build intricate scenes that would normally be beyond many test film budgets.
The term 'photomatic' is probably derived from 'animatic' or photo-animation.
Sourced from Wikipedia http://en.wikipedia.org/wiki/Storyboard
Task 2.1 Video pre-production
2.1 Although the maximum time limit of the project is 5 minutes there is no minimum time restriction, however projects that are planned for less than 30 seconds will need to be cleared with the tutors prior to filming. To complete the pre-production you will need to fill out the following forms
Pre production paper work required for submission
1 Treatment
2 Storyboards inc Animatic or Photomatic
3 Scripts (if the production has dialog)
4 Shooting schedule
5 Call Sheet
6 Risk Assessment
The content of the video is your choice but again this must be negotiated with the tutor prior to filming.
Pre production paper work required for submission
1 Treatment
2 Storyboards inc Animatic or Photomatic
3 Scripts (if the production has dialog)
4 Shooting schedule
5 Call Sheet
6 Risk Assessment
The content of the video is your choice but again this must be negotiated with the tutor prior to filming.
Task 2 Brief
You will need to individually produce a maximum of a 3 minutes experimental video. The subject of the video will be of your choosing and will be the result of a culmination of your research and pre-production work. You will also need to plan and exhibit this work in a specific location relevant to the video. You will need to keep a blog diary of the pre-production and production period.
This task will be broken down into sub tasks in the next few posts. They will be titled as follows.
This task will be broken down into sub tasks in the next few posts. They will be titled as follows.
Task 2.1 Video pre-production, (Unit 34 P2,M2,D2)
Task 2.2 Exhibition/Installation Plan, (Unit 34 P3,M3,D3, Unit 34 P2,M2,D2)
Task 2.3 Pre/production Diary, (Unit 34 P2,M2,D2)
Task 2.2 Exhibition/Installation Plan, (Unit 34 P3,M3,D3, Unit 34 P2,M2,D2)
Task 2.3 Pre/production Diary, (Unit 34 P2,M2,D2)
See additional information posts for details of these sub tasks
13.10.09
Chameleon Tina Gonsalves
http://www.fabrica.org.uk/whatson.htm
How is it that an individual's smile can lift the atmosphere of a room, or that we find ourselves 'catching' another's mood from a display of anger, fear or disgust?
Chameleon is an interactive video installation that explores the subject of emotional contagion between groups and individuals and it stems from Tina Gonsalves' continuing fascination with human emotion, intimacy and vulnerability.
For Chameleon at Fabrica, the ninth in a series of ten artistic and scientific experiments, the gallery becomes an emotional theatre in which visitors and digital video portraits interact.
Gonsalves and her team have developed software to seek out visitor's emotions and then trigger an 'emotionally intelligent and learning' computer system to play back video portraits in response. Each day the mood of the Chameleon portraits will adapt to the range of visitor's emotional expressions, affecting the tone and emotional ecology of the gallery space.
Chameleon highlights how often we are on the threshold of trying to make sense of each other and how we search for meaning and authenticity through balanced codes of expressions, dialogue and body language.
Tina Gonsalves leads a collaborative team merging the disciplinary boundaries of art, science and technology and giving new forms to the scope and function of the artist.
She is artist in residence at the Wellcome Department of Neuroimaging London, UK, MIT Media Lab, Cambridge, USA, Brighton and Sussex Medical School Brighton, UK, and Nokia Research Labs Tampere, Finland.
The Chameleon Project is a collaboration between Tina Gonsalves, leading neuroscientists and affective computer scientists, emotional designers and curators. It is funded through the Wellcome Trust with Australia Arts Council, Arts Council England, Australian Network for Arts and Technology, Lighthouse, and is supported by UCL, Brighton and Sussex Medical School, Solent Centre for Innovation and Design, SCAN, MIT Media Lab, Dana Centre and The Banff New Media Institute, Canada.
Chameleon is an interactive video installation that explores the subject of emotional contagion between groups and individuals and it stems from Tina Gonsalves' continuing fascination with human emotion, intimacy and vulnerability.
For Chameleon at Fabrica, the ninth in a series of ten artistic and scientific experiments, the gallery becomes an emotional theatre in which visitors and digital video portraits interact.
Gonsalves and her team have developed software to seek out visitor's emotions and then trigger an 'emotionally intelligent and learning' computer system to play back video portraits in response. Each day the mood of the Chameleon portraits will adapt to the range of visitor's emotional expressions, affecting the tone and emotional ecology of the gallery space.
Chameleon highlights how often we are on the threshold of trying to make sense of each other and how we search for meaning and authenticity through balanced codes of expressions, dialogue and body language.
Tina Gonsalves leads a collaborative team merging the disciplinary boundaries of art, science and technology and giving new forms to the scope and function of the artist.
She is artist in residence at the Wellcome Department of Neuroimaging London, UK, MIT Media Lab, Cambridge, USA, Brighton and Sussex Medical School Brighton, UK, and Nokia Research Labs Tampere, Finland.
The Chameleon Project is a collaboration between Tina Gonsalves, leading neuroscientists and affective computer scientists, emotional designers and curators. It is funded through the Wellcome Trust with Australia Arts Council, Arts Council England, Australian Network for Arts and Technology, Lighthouse, and is supported by UCL, Brighton and Sussex Medical School, Solent Centre for Innovation and Design, SCAN, MIT Media Lab, Dana Centre and The Banff New Media Institute, Canada.
20.9.09
Task 1 Additional Info
For your 800 word Analysis you might want to follow the following structure I would recomend using at least 3 diffrent examples.
1. Discuss both past and current artists and works(200 words)
Discuss at least three of the artists you have looked at comparing general similarities and differences between them. Not your own opinions!
2. The use of technology and techniques and styles (100 Words)
How does the use of technology differ think about when they where made was the technology new then.
3. Narrative and non-narrative structures (100 Words)
Discuss the story line is it simple structure Begin, middle, end or is there a more complex or different structuring happening?
4. The use of exhibition space to create meaning (100 Words do as part of London Trip)
How does the exhibition space change the meaning of the work. To be done later next week.
5. How these works might inspire your own work (100 Words)
Talk about your own ideas and how they may have been inspired by the work that you have seen.
6. Audience, and audience interpretation of the work (200 Words)
Was the reaction different within the group? does this matter? is it important that we all have one interpretation?
1. Discuss both past and current artists and works(200 words)
Discuss at least three of the artists you have looked at comparing general similarities and differences between them. Not your own opinions!
2. The use of technology and techniques and styles (100 Words)
How does the use of technology differ think about when they where made was the technology new then.
3. Narrative and non-narrative structures (100 Words)
Discuss the story line is it simple structure Begin, middle, end or is there a more complex or different structuring happening?
4. The use of exhibition space to create meaning (100 Words do as part of London Trip)
How does the exhibition space change the meaning of the work. To be done later next week.
5. How these works might inspire your own work (100 Words)
Talk about your own ideas and how they may have been inspired by the work that you have seen.
6. Audience, and audience interpretation of the work (200 Words)
Was the reaction different within the group? does this matter? is it important that we all have one interpretation?
BTEC NATIONAL DIPLOMA IN Film and Television Assignment Brief: Experimental Video Installation
Date set 21/09/09
Deadline Task 1 23/10/09 UNIT 34: P1,M1,D1
Deadline Task 2 13/11/09 UNIT 34: P2,M2,D2
Deadline Task 3 27/11/09 UNIT 34, P3,M3,D3
Deadline Task 4 04/12/09 UNIT 34: P4,M4,D4 (for the installation) 11/12/09 (for the evaluation)
Unit 34: Producing Video and Installation Work
Brief:
For this assignment you are being asked to research, plan, produce and exhibit an experimental video piece. You will be asked as part of the assessment of this assignment to write reviews and a final analysis on examples seen throughout the course. You will produce an extensive research and plan for your own experimental video and exhibit your work. Your work will need to be viewed by, and you will need to get feedback from, an audience of your peers, tutors and possibly the general public
Task 1. Create a comprehensive blog page containing the reviews of 6 Art based/ experimental videos that you have seen on the course so far; Your reviews need to show your own critical evaluation of work by chosen artists. You will need to include supporting examples of work, and your own notes interpreting the work. This should be done using correct terminology.
You will then using these reviews create a minimum of 800 word critical analysis on experimental video and exhibition. You will need to adress the following points as mini chapters. Use each of them as headings for your chapters.
1. Discuss both past and current artists and works
2. The use of technology and techniques and styles
3. Narrative and non-narrative structures
4. The use of exhibition space to create meaning
5. How these works might inspire your own work
6. Audience, and audience interpretation of the work
You will need to reference any examples of work you have seen as well as any literature used as quotations in this analysis.
Unit 34 P1,M1,D1
Evidence
6 x Blog posts reviews on artists work viewed on the course
1 x 800 word analysis of experimental video and exhibited work (This should be posted onto your
Further posts in RED will assist your with this task
Task 2 Exhibition plan and Pre-production see information in later posts (In blue)
Task 3 Post-production see information in later posts (In green)
Task 4 The installation and evaluation see information in later posts( In purple)
Unit 34: Producing Video and Installation Work
Final Deadline 17/12/08
Deadline Task 1 23/10/09 UNIT 34: P1,M1,D1
Deadline Task 2 13/11/09 UNIT 34: P2,M2,D2
Deadline Task 3 27/11/09 UNIT 34, P3,M3,D3
Deadline Task 4 04/12/09 UNIT 34: P4,M4,D4 (for the installation) 11/12/09 (for the evaluation)
Unit 34: Producing Video and Installation Work
Brief:
For this assignment you are being asked to research, plan, produce and exhibit an experimental video piece. You will be asked as part of the assessment of this assignment to write reviews and a final analysis on examples seen throughout the course. You will produce an extensive research and plan for your own experimental video and exhibit your work. Your work will need to be viewed by, and you will need to get feedback from, an audience of your peers, tutors and possibly the general public
Task 1. Create a comprehensive blog page containing the reviews of 6 Art based/ experimental videos that you have seen on the course so far; Your reviews need to show your own critical evaluation of work by chosen artists. You will need to include supporting examples of work, and your own notes interpreting the work. This should be done using correct terminology.
You will then using these reviews create a minimum of 800 word critical analysis on experimental video and exhibition. You will need to adress the following points as mini chapters. Use each of them as headings for your chapters.
1. Discuss both past and current artists and works
2. The use of technology and techniques and styles
3. Narrative and non-narrative structures
4. The use of exhibition space to create meaning
5. How these works might inspire your own work
6. Audience, and audience interpretation of the work
You will need to reference any examples of work you have seen as well as any literature used as quotations in this analysis.
Unit 34 P1,M1,D1
Evidence
6 x Blog posts reviews on artists work viewed on the course
1 x 800 word analysis of experimental video and exhibited work (This should be posted onto your
Further posts in RED will assist your with this task
Task 2 Exhibition plan and Pre-production see information in later posts (In blue)
Task 3 Post-production see information in later posts (In green)
Task 4 The installation and evaluation see information in later posts( In purple)
Unit 34: Producing Video and Installation Work
Final Deadline 17/12/08
Task # 1 Grade focus Unit 34 P1,M1,D1
Task one focuses on criteria P1,M1 and D1 of unit 34. Please read the sections below to help you when producing task one
P1 To achieve this grade you would need to
describe the work of video artists and express ideas with sufficient clarity to communicate them with some appropriate use of subject terminology
M1 To achieve this grade you would need to
explain the work of video artists with reference to well-chosen examples. You express ideas with clarity and with generally appropriate use of subject terminology
D1 To achieve this grade you would need to
critically evaluate the work of video artists with supporting arguments and elucidated examples expressing ideas fluently and using subject terminology correctly
P1 To achieve this grade you would need to
describe the work of video artists and express ideas with sufficient clarity to communicate them with some appropriate use of subject terminology
M1 To achieve this grade you would need to
explain the work of video artists with reference to well-chosen examples. You express ideas with clarity and with generally appropriate use of subject terminology
D1 To achieve this grade you would need to
critically evaluate the work of video artists with supporting arguments and elucidated examples expressing ideas fluently and using subject terminology correctly
Task 1.4 The exhibition space (London Trip)
The use of exhibition space to create meaning (100 Words) How does the exhibition space change the meaning of the work. To be done later next week.
1 List and discuss different locations where video and film are displayed.
2 Next to each location list the function or relationship that it has to the video/film.
3 Now decide in your groups the meaning that is created with the relationship between location/space and video/film
In preperation for Wednesday I want you to use the link on the blog to the map of the TATE Modern. From here I want you to search for installation artist's work, noting the location including floor that the work is placed.
to start you off search for Cornelia Parker.
1 List and discuss different locations where video and film are displayed.
2 Next to each location list the function or relationship that it has to the video/film.
3 Now decide in your groups the meaning that is created with the relationship between location/space and video/film
In preperation for Wednesday I want you to use the link on the blog to the map of the TATE Modern. From here I want you to search for installation artist's work, noting the location including floor that the work is placed.
to start you off search for Cornelia Parker.
First post
With your new blogs up and functioning, I want you to put up your first post. In this post I want you to write 100 words on what you believe the subject experimental video actually means. You may wish to talk about videos/films that you have seen or experimental work that you have created in the past. Finally can you say what expect to create as part of this assignment.
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