Compare with the two phase different
tasks, I learnt about two style of working method, and also know about how to
deal with different requirement. Phase 1 is a defined topic and all of the
research and data collection should be around of the topic; Phase 2 is quite
different from the first one, I need pay more attention to the creative ability
and inspiration. I have deeply understanding from the screen culture, it is a
course focus on ideas but combined with basic technique to present the
appearance.
Tuesday, 1 May 2012
April In 2012
Finally I choose Adobe After Effects to edit my project, I learnt from one of my animation classmate, I add the effective and sound into my flash, and calculate the exactly time step by step, I found technology is quite rigorous even in one second. I need make sure that is 100 percent accuracy during the process. But as a result of the technique factor limit, the flash won’t be perfect and professional, it is a way to present the idea from my brain storm.
April In 2012
April In 2012
On account of the research, I am inspired by the “fresh” in media field, it is related to mobile media and social network. I prefer to create an animation flash to present the communication situation in today. But as a result of the technique factor limit, the flash won’t be perfect and professional, it is a way to present the idea from my brain storm. The world of social media networking sure is fascinating. We enjoy reconnecting with friends over Facebook, writing recommendations for colleagues on LinkedIn and viewing/sharing videos with friends on YouTube. Social network almost included in each mobile and become an excellent assistant in people’s communication. Because of the first experience to create an animation flash and the drawing ability, I use the photos download from the Internet, not because of the past experience, coupled with the operation of a very unfamiliar, the flash is crude and simple specification. It is the part in need of improvement in the future.
April In 2012
Technique is a big problem and challenge in phase 2 project, I don't have any experience and
professional support in a such short time, I surf the Internet and watch amounts of related videos on YouTube. The example is as follows: http://www.youtube.com/watch?v=zFSQTGvENXc
April In 2012
Asia loves mobile instant
messaging, and China is no exception. For youngsters, the most popular monthly
mobile phone contract packages probably include hundreds of free SMS. In
addition to SMS, China also has QQ, the decade-old instant messaging that
thoroughly dominates the space. Now Tencent, the company behind QQ, is bringing
the latest mobile messaging service to the mainstream. Whether you call them a
fast follower or an unashamed copycat, Tencent is adept at spotting and pushing
the latest internet trends to its vast user base. Tencent’s version is
called Weixin. From the start, Weixin was likely a clone of Talkbox, an instant voice messaging start-up from Hong Kong. After
Talkbox’s runaway success it became the target of many others including MiTalk,
Kiki Messenger, Youni, and of course Tencent’s Weixin. But Weixin has one key
advantage the others can only dream of: 700 million registered users. Just
about every single Chinese
internet user has a QQ account,
for many QQ is the internet. For Weixin, a QQ account is the only
log-in option, which also immediately allows the app to pull from a user’s
existing QQ social graph. Functionality-wise Weixin
is fairly standard comparing to its competitors. All have text messaging, photo
sharing, voice messaging, location-sharing, and group messaging. But Weixin
once again further leverages Tencent’s massive user base by offering an edgy
geo-location service. You can see and message any users within a 1000m radius
of your GPS position, whether they are a friend or not. Now you can strike up a
conversation with a random stranger near you, and we can all imagine the other
applications this neat little feature can lead to. One friend told me it was an
excellent way to find ‘beautiful girls’ in his vicinity. Social network and mobile media is a quite perfect combination.
April In 2012
Example of silence power in cinemas:
The 1998 war movie Saving Private Ryan is remembered for its brutal images of the D-Day landings; equally important, however, is what the scene sounds like.
For a start, it’s scoreless. We hear dialogue and the sound of oceans waves and battle, but no music.
Sometimes we hear even less. When a soldier falls in the water, the camera follows him under and the film becomes eerily silent save for the soft “zzzt” of bullets passing by.
Then Tom Hanks’ character narrowly misses being blown up, and the concussion briefly deafens him. In ghostly near-silence he watches men engulfed in flame; a soldier retrieving his own severed arm; another mouthing the words: “What now, sir?!”
Admittedly, the post-explosive silence is now something of a cliché. You can find it in The Pianist, Children of Men, Valkyrie, Sherlock Holmes and elsewhere. But movie tropes are born because they work. Silence can speak volumes.
Ever since the movies became the talkies in 1927, sound has comprised dialogue, music and effects. Yet some of the greatest moments in cinema have resulted in the removal of one or more of these elements.
Stanley Kubrick’s masterpiece 2001 opens with the haunting music of Richard Strauss, followed by the long, wordless “dawn of man” sequence. It’s 25 minutes before the first line of dialogue. (An early draft of the script included narration, thankfully dropped.)
More recently, Pixar’s WALL-E has a long speech-free opening, as the waste-clearing robot roams our deserted planet. The studio’s next film, Up, used a silent montage to tell the story of two characters’ long marriage.
Of course, the term “silent” is misleading. Even the age of silent movies featured live musical accompaniment, now part of the soundtrack. Michel Hazanavicius’ new black-and-white “silent” film The Artist has no dialogue but a fantastic score by Ludovic Bource.
A wonderful throwback was Guy Maddin’s Brand Upon the Brain! Although available on DVD, its premiere performance at the Winter Garden theatre during the 2006 Toronto International Film Festival involved a live orchestra, narrator, singer and foley artists.
The power of the score can be proven by removing or changing it. Fritz Lang’s 1927 film Metropolis was re-released in 1984 with a contemporary, pop-music soundtrack featuring Freddie Mercury. The Wizard of Oz is said to work well accompanied by Pink Floyd’s Dark Side of the Moon.
Other times, a score can be so subtle as to escape notice. I watched No Country for Old Men several times blissfully unaware that it was set to the (admittedly sparse) music of Carter Burwell.
Silence can play into a film’s plot, as in Fantastic Voyage, where a miniature submarine will be damaged by any sudden sound; or the first Mission: Impossible movie, with Tom Cruise’s character thwarting a sound-sensitive alarm system. Horror moviemakers have long known that a drawn-out silence can be just as scary as a scream.
Still, instances of total silence in the movies are exceedingly rare. One is the famous mirror scene in the 1933 Marx Brothers comedy Duck Soup – after a crash of glass, two characters mime each other’s movements from either side of an empty pane, with no sound at all.
Another comes near the end of The Artist. In an emotionally climactic scene, the otherwise omnipresent score drops away, and we watch the characters’ faces as they talk in total silence. Words can’t describe the impact of such stillness. They don’t have to.
Reference:
1. http://arts.nationalpost.com/2011/12/07/the-power-of-silence-in-the-movies/
The 1998 war movie Saving Private Ryan is remembered for its brutal images of the D-Day landings; equally important, however, is what the scene sounds like.
For a start, it’s scoreless. We hear dialogue and the sound of oceans waves and battle, but no music.
Sometimes we hear even less. When a soldier falls in the water, the camera follows him under and the film becomes eerily silent save for the soft “zzzt” of bullets passing by.
Then Tom Hanks’ character narrowly misses being blown up, and the concussion briefly deafens him. In ghostly near-silence he watches men engulfed in flame; a soldier retrieving his own severed arm; another mouthing the words: “What now, sir?!”
Admittedly, the post-explosive silence is now something of a cliché. You can find it in The Pianist, Children of Men, Valkyrie, Sherlock Holmes and elsewhere. But movie tropes are born because they work. Silence can speak volumes.
Ever since the movies became the talkies in 1927, sound has comprised dialogue, music and effects. Yet some of the greatest moments in cinema have resulted in the removal of one or more of these elements.
Stanley Kubrick’s masterpiece 2001 opens with the haunting music of Richard Strauss, followed by the long, wordless “dawn of man” sequence. It’s 25 minutes before the first line of dialogue. (An early draft of the script included narration, thankfully dropped.)
More recently, Pixar’s WALL-E has a long speech-free opening, as the waste-clearing robot roams our deserted planet. The studio’s next film, Up, used a silent montage to tell the story of two characters’ long marriage.
Of course, the term “silent” is misleading. Even the age of silent movies featured live musical accompaniment, now part of the soundtrack. Michel Hazanavicius’ new black-and-white “silent” film The Artist has no dialogue but a fantastic score by Ludovic Bource.
A wonderful throwback was Guy Maddin’s Brand Upon the Brain! Although available on DVD, its premiere performance at the Winter Garden theatre during the 2006 Toronto International Film Festival involved a live orchestra, narrator, singer and foley artists.
The power of the score can be proven by removing or changing it. Fritz Lang’s 1927 film Metropolis was re-released in 1984 with a contemporary, pop-music soundtrack featuring Freddie Mercury. The Wizard of Oz is said to work well accompanied by Pink Floyd’s Dark Side of the Moon.
Other times, a score can be so subtle as to escape notice. I watched No Country for Old Men several times blissfully unaware that it was set to the (admittedly sparse) music of Carter Burwell.
Silence can play into a film’s plot, as in Fantastic Voyage, where a miniature submarine will be damaged by any sudden sound; or the first Mission: Impossible movie, with Tom Cruise’s character thwarting a sound-sensitive alarm system. Horror moviemakers have long known that a drawn-out silence can be just as scary as a scream.
Still, instances of total silence in the movies are exceedingly rare. One is the famous mirror scene in the 1933 Marx Brothers comedy Duck Soup – after a crash of glass, two characters mime each other’s movements from either side of an empty pane, with no sound at all.
Another comes near the end of The Artist. In an emotionally climactic scene, the otherwise omnipresent score drops away, and we watch the characters’ faces as they talk in total silence. Words can’t describe the impact of such stillness. They don’t have to.
Reference:
1. http://arts.nationalpost.com/2011/12/07/the-power-of-silence-in-the-movies/
March In 2012
The first problem I met in the phase 1 is about the definition of " silence", I regard the " silence" as completely quiet without any sound, however when I discuss the problem with Ivan, I changed the opinion and mistake. The " silence" can be anything without dialogue, it can be background music, sound effect and " nothing". The impressive example is the song " My heart will go on" of Titanic, it is an excellent and amazing melody in many audiences' mind-the True and Eternal love.
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