Don't wanna be here? Send us removal request.
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Thinking about it, will probably need to just set up the camera on the tripod at an angle down towards the box - still shot the whole time. Simple background - probably just a wooden table/space in one of the studios upstairs at uni with good lighting. Keep space really simple, find some pretty equipment (borrow from bindery), and you could add props or context with maybe some Māori jewellery on the hands, or a pounamu if you can see the chest of the person doing the making. Could add scene also with the colour of the clothing - maybe like linens, light greens.
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Examples of setting for product photography - thinking about the box tutorial video
Black background in the photography studio
Outside, somewhere sandy - think terracotta
AUT Wharenui
On wood or natural materials
Just a plain green background? Material, or paper?
What is available in the AUT photography studio?
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Literally simple as - lots of slow mo cuts of people working on one project, ordered together nicely to match words and with bright light. Bird song and slow uplifting music in the background, VoiceOver over the top
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Initial Research for someone who doesn't know nothing about making a video
Rule of thirds when setting up shots, But when interviewing seated like this: for 'lookspace'
Leading lines - compositional technique (guide the viewers attention towards the object):
Frame within a frame - additional focal point:
Shadows create depth, dimension and subject matter: Choose ideally a sunny day with harsh light.
Lighting: Natural light - observe how light changes behind the camera throughout the day and in different weather conditions.
Front on lighting can make a subject look flat. Side lighting adds depth and texture - it is suggested to film on the shadow side. use a window
Consider messaging when choosing colour of lighting - warm or cool
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Use of symbol, whakamārama o te tohu ki ngā whakaahua noiho
Really simple again, just beautiful shots. Need to find an example of something a bit more complicated, as it explains how to use something
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Kirita Rangahau - Tiakina Kauri
Use of voiceover, music, and light Essentially a really simple concept
Good mix of reo pākehā and reo Māori
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Again, mix of reo pākehā and reo Māori
Sound bridges over hsots
Music choice
B roll
Beautiful shots of ngāhere
One interview but still interesting
Summarised well at the end
Incorporation of karakia
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Begin with karakia
Thoughtful typeface, translation
Shots of things that are connected as a kind of B roll - this forms context and connects ideas
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Mēnā kore koe e rongo, kore koe e mōhio ki te rongoā - pūrākau hei tohu mō te rongoā, mō te whakautu tika
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Binding - I made four boxes - one for Good Health Design, one for Denise, one for Aunty Bee and one to submit
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Weaving the Kete for the box
I was going to learn a bit more about weaving and the tikanga surrounding it from Harry’s Auntie Phyllie, but unfortunately a family emergency came uo and she was unable to meet! I would like to learn about this in the future.
I wove the Kete myself at home, and also braided strings of flax to tie around the box, packaging it up with pounamu to present it as a taonga
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Developing fabric dyeing for Te Pō unravelling section. Chose linen/cotton blend for a more natural and organic materiality, relevant to the shift to a Te Ao Māori perspective. Dyeing with fabric dye rather than acrylic paint to get a richer result, and varying shades represent the phases of the night, moving from the darkest of darks to the dawn
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Developing guidebook
Will include some sketches in the leaflet to show how to interact with the box, drawing reference from guidebook like furniture assembly leaflets. This adds another layer, and a visual aid for people who struggle to understand by reading words only

https://magenta.as/how-ikeas-assembly-instructions-champion-universal-design-fe2710ab5c36
There does need to be a balance of lyrical, poetic storytelling and instructional language, which will come down to the style/tone of the illustrations.





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Checking the final kupu that I haven’t been able to find definitions in the reserach papers for.
These kupu are less contentious, so I do feel comfortable using the dictionary to find translations. However, I want to use a more reliable dictionary than Te Aka. The H. W. Williams is a reliable dictionary, suggested in Te Reo courses to be used at Auckland Uni. I will find English - Māori translations in the P.M. Ryan dictionary, and then cross-check these terms in the Williams dictionary.
My kupu references can be found here:
https://docs.google.com/document/d/1ps0bjXCnjxKqWUIJ-KjNihJHZD5axkGbigi12xO-fv0/edit
I have decided to switch out tāhanga for māhue
Because tāhanga more accurately means naked and empty, rather than desolate (which Te Aka defined it as), this is not the right word, because it is quite interior to the person, blaming the wāhine for their situation, rather than showing it is the services surrounding her which has left her desolate
Māhue: forsaken, neglected, is a better word to show this.
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Fiona’s Feedback on guidebook and process book
Giving guidance through a system of cues - conventions relevant to the context which make the signage very clear
Can include that personal reflective voice if you make its place in the system very clear/consistent
Typography - legibility vs sensitivity
handwriting - be careful when you use it, because if it’s not grouped into one type of speaking them it is hard to follow
Use cues also from guidebook/information handbook: maybe needs to be diagrammatic: think IKEA furniture assembly
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Developed spreads and typographic system
I feel like these pages are looking much more sophisticated with a use of grid, scaling of text, kickers and linear elements. This is a typographic system that I think I will try to roll out across the box, cards, and process book
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