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I'm a GBDA Waterloo Sudent. A place for assignments related to GBDA 201.
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PETER’S SECTION
Woman: So that was kind of creepy.
*laughs from Maisie/Erin*
Woman: But they call York one of the most haunted cities in England, so… heh heh heh.
Maisie: Wow, that’s so good!
Erin: I would not go on exchange in York
Maisie: Yeah! Okay, wow that’s very cool! Do you have anything to say?
*Background noise throughout from mall*
ANIMATION STYLE
I am planning to use Macromedia Flash 8 to animate my section. I want the animation style to be reminiscent of hand drawn Newgrounds/Youtube cartoons from around the mid to late 2000s. With large expressive faces and vibrant colours, it is a flexible style that can accommodate both comedic and serious moments. My section is mostly comedy, and even though I’m going to use a more serious looking and detailed drawing of the ghost knight, it will be for comedic purposes.
Another reason for this style choice is because I have experience with it. Back in elementary school, I tried making my own cartoons with Macromedia Flash. They were inspired by the previously mentioned Newgrounds and Youtube animations. I never got good enough to feel proud of my creations back then, but I am sure it will be fun and nostalgic to re-explore an activity from my childhood.
Here is a link to one of my favourite animators who was also the major source of inspiration for my child self:
https://www.youtube.com/user/eddsworld
Specifically:
https://www.youtube.com/watch?v=rqEIxlv0UTE
https://www.youtube.com/watch?v=0Mqqsn7_nJ8
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Miniblog #2
Statement
I decided on using a microphone because it was a device made to specifically take vocal input. Speech is a much more expressive form of communication than just touch alone. One could use it to insult someone, encourage them, or make them feel doubt. Because of this, I went with the drama genre which takes advantage of relationships to create emotional weight. This microphone is abused by its owner, and often dreams as a form of escapism.
I utilized establishing and closing shots to show the microphone’s preferred environment versus its reality. The first establishing shot in the video shows the microphone sitting at a clear table in a quaint room waiting to be served. After it is snapped out of its dream, the next establishing shot is of its actual situation. It is propped up by a makeshift tissue box stand on top of a crowded desk, while being yelled at by its user. The closing shot after the user loses his game is not meant to close out the video, but rather the moment of clarity that the microphone has of its reality. Even while being squished between trash and a pair of headphones, it starts to slip into its fantasies again once the light is turned off with its last sight being a messy unmade bed. To indicate that the beginning and ending of the video are dream sequences, I adjusted the lighting and applied a slight blurring effect during the editing process. The short snaps of the user yelling are also brightened to be barely recognizable at first before coming back to a more natural tone after every appearance. This is part of the rhythm and pacing of the editing. At first, the shots of the dream are calmer and longer before getting interrupted by these snaps at an increasing rate. When the microphone is hit back into reality, the screen flickers so that it takes a moment for the viewer to register what had just happened. I wanted to recreate that feeling of when one is awoken abruptly from their dreams. It takes a second to separate reality from dream in that brief moment. Personally, I start to “absorb” reality slowly by first looking at what awoke me (alarm clock), nearby objects (blankets), and then my surroundings (ceiling/bedroom). The editing reflects this with the reveal of the person speaking, the monitor, and then the establishing shot of the gamer at his table. After this, the pacing speeds up, with each individual shot being shorter while showcasing frantic motion, as the gamer gets angrier and lashes out at his team mates. All of this build up leads to no climax to create a sense of disappointment for both the viewer and the gamer as he loses his match. From experience, actual loses in close games are always disappointing and sudden. The video slows down as the microphone is left alone to drift off again.
The idea of a microphone being abused by an over the top gamer is too silly of an idea to be taken 100% seriously, and it would be ridiculous to expect the audience to react accordingly. The dream sequences were used to add a bit of light heartedness to a video that would otherwise be taking itself too seriously. It is unfortunate, but real abuse between people cannot be expressed well enough when one of the parties is being represented by an object. What I do want viewers to take away is that abuse usually takes place in private places away from the public. The abused often shows no signs of damage. And finally, many victims do not seek help and often cope in their own ways such as escapism.
Logline
“Silent Escapism is a drama that follows the struggles of a rock hard microphone as it attempts to deal with its harsh and abusive reality of being nothing more than a tool for a toxic gamer.”
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Miniblog #1- Part A
https://docs.google.com/document/d/1JKh8viT2cEtYtEGk8gm2LAa4VRHBnhVOg0S2JNs78x0/edit?usp=sharing
Edit: References. My apologizes, Google Docs will not let me indent the citations properly.
https://docs.google.com/document/d/1TPvWRuRZt5fzvpsUhYpBnjIxfct_fLcqKjCaAQz-448/edit?usp=sharing
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Project Statement
Word:
BALANCE
Kobayaski Issa:
Everything I touch
With tenderness, alas,
Pricks like a bramble.
We felt that the perfect way of expressing both our word and poem was through the cycle of life. Our animation features a planet between the sun and the moon. The planet like object is placed in the centre of the composition with the sun and moon orbiting around it.
Our word, balance, is expressed by the cycle of birth and death in a yin and yang type of relationship. Something is born while something dies. We also used the principle of balance in our composition because of our word. The spacing of the planet, sun, and moon made the entire piece look equally weighted throughout. No part feels exceptionally empty or badly cluttered. Our poem is expressed by how the sun and moon interact with the planet’s organisms. All the sun wants to do is nurture the organisms so they grow, but it gets too close and sets them ablaze. The moon wants to cool the organisms off, but again gets too close, and ends up freezing the organisms to death. The caring that they show the organisms ends up backfiring, and results in the death of what they embraced. In this case, the loss of one’s beloved is the prick from the bramble.
In my original prototype storyboard and concept, I showed a cell growing up and eventually mothering a baby cell, only to be betrayed by it. The adult cell dies, and the baby survives. This aspect of life and death was present in my prototype and ended up in the collaborative product as well. Because I was originally going to do an animation with blobby cell like organisms, I took the job of creating the main planet in the collaborative animation since it would feature blobby forms.
I wanted to express a living organism in the planet itself. In my original planet, I made a perfectly circle shaped planet with circular throbbing and moving parts on it. This made the objects look like individual organisms instead of being a part of the planet. To remedy this, I made the entire planet throb like a microbe along with the individual objects. This made the planet look like an organism because nature based occurrences, like life, are never in perfect geometric shapes. The entire piece is filled with organic shapes because of this. Every time it throbs, the centre of the planet also lights up giving off a sense of bioluminescence indicating that it is alive. However, due to my group liking the planet without the blobs in the centre, I removed them in the final version.
In the same theme as the planet, the actual organisms that grow on the outer layer of the planet wriggle like blobs as well to indicate life. Additionally, the green of the planet represents that the organisms are alive. This blend of green was used because it was synonymous with thriving and vibrant vegetation. Once they start burning and withering is when they hit a darker brown neutral colour to indicate death. I realize it is a fairly cliché colour choice, but as a colour scheme it works better with the red sun and blue moon. Another possibility was to make the planet red and orange to give off the sense of it radiating warmth and life. Unfortunately, the sun was already a warm orange red, so having the planet red as well would throw off the balance of the entire composition. The orange and red flames on the trees at the top are similar to the sun, and the blue ice from the frozen trees at the bottom are similar to the moon. Because of this, there was an option of making the planet a blending point for the colour. This would have resulted in making it purple, but I felt that no matter what variant of the colour I used, the planet ended up not as lively and vibrant as I wanted it to be.
Our team created several demos of the way the sun and the moon would move around the planet based off of different composition layouts like the Z formation. Ultimately, we decided to have the sun and moon rotate around the planet in semi circles. We ended up using the rule of thirds composition. Our goal was to have the viewer focus be on the planet, but at the same time we wanted attention to be given to the sun and moon as well. This is where we took advantage of the medium of animation. The two objects would eventually float into and out of the intersections of the rule of thirds grid while moving in their arcs. This would give focus to them at certain points of the animation, but not all of the time, giving the planet some time to shine as well. This feat was only possible in an animation due to the movement of objects. If this was a stationary design, we would have needed to change our entire composition.
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Final version, with fire effect and pulsating life glow in the centre of the planet.
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youtube
Version #3 Animated, and basically finished with most parts added.
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Made the planet ovalish because being a circle was boring and felt un organic.
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First photo is the original concept for the planet. Second is a revised copy with a different colour scheme. Third photo is one of the tree organisms that grow.
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Final Storyboards
Group Members: James Colalillo, Naomi Ing
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Independent Research
BALANCE
Kobayaski Issa:
Everything I touch
With tenderness, alas,
Pricks like a bramble.
Determine:
- Unrequited love
- Everything that they love hates them instead, everything they hate loves them.
- Caring and loving causing pain
- Hurts to care/love for something
- Hard to commit to something. Losing something you care for causes pain.
- Caring for something unconditionally causes pain when the other doesn’t care back, but people still love unconditionally anyways despite that. That’s why it’s unconditional.
I could use an abstract method of representing this topic. It’d be too easy or cliché to just show an infatuated individual get rejected. I want to express the burden that comes with caring for something whether it be a person, animal, place, or thing. I’m thinking of using warm, but neutralized colours to represent the tenderness. I want them neutral instead of saturated in order to give that tenderness a weight. To express that prick of pain, I want to use either a sharp saturated and contrasting colour to represent a quick prick or a neutralized contrasting colour to represent a dull aching pain.
With the concept of balance, I could work that into the narrative. Perhaps the pain felt back varies depending on how much tenderness was given. So the more tenderness and care given, the more pain received.
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