"The Ringleader"
Sunday, February 27, 2011
Blog 7A - Joke Video Response
When we were editing and going over our two joke videos, I was left astonished by how different they both wound up being. Both videos used the same actors, both were made by the same group, and based off the same joke as well. However, with different people taking different, specific roles in the short films’ productions, we wound up with two very different end results. Two of the most distinguishable differences can be seen in our use of Line and Space.
In the video I directed, I know I tried to use different styles of lines and the rule of thirds as much as possible. While the use of the rule of thirds should be obvious in nearly every shot, the Actual and Virtual lines I attempted to utilize might not be so obvious. The Actual lines I used in my shots were either to draw attention to a character or alter the perception of them. For example, in the opening scene, the lines created by the shelf all point to the mother. In other shots, I tried to use different directions of lines in either the wall or simply in where the actors were placed to give a different feel and sense of size to the characters.
In video 1, the director seemed to use more virtual lines. Lines that, while not visible, still direct the viewer’s eyes. Much of this can be seen in how the director used the lines to add further depth to the shots.
The other element that’s very different is the use of space. While I attempted to create the illusion that the room was larger than it actually was, the other video made the audience fully aware of the smaller size of the room. Both directors seemed to establish what they were going for fairly well, but the contrast between my use of flat space and the depth cues in the other still stands as stark.
There’s also a difference in the use of Active and Didactic storytelling and the use of Tension and Release. In the first video, the “Morgan Freeman” voice audibly says what the swear word is, while in mine it’s left up to the viewer’s imagination. The difference in Tension and Release can be seen when the mother first catches the boy swearing. In the silent movie, the tension and anger of the mother is drawn out, while in the narrated version, the punishment comes as swift, and without mercy.
Again, I’m happy with how both videos turned out, especially in seeing how different they ended up being.
Monday, February 21, 2011
Monday, February 14, 2011
Blog 3B- Soundscapes
My Group's Soundscape:
Emotion: Quiet Rage
My Critiques
My first critique was of Katie Everett's Soundscape
Second, Max Long
(It, for some reason, wouldn't let me see the URL)
Third, Alex Wiseman
(Same here. I imagine they embedded their video differently than I or miss Everett)
Emotion: Quiet Rage
My Critiques
My first critique was of Katie Everett's Soundscape
Second, Max Long
(It, for some reason, wouldn't let me see the URL)
Third, Alex Wiseman
(Same here. I imagine they embedded their video differently than I or miss Everett)
Blog 3A - Cover Songs
"American Woman" - The Guess Who
"American Woman" - Lenny Kravitz
For my song, I chose “American Woman,” as performed by both The Guess Who and Lenny Kravitz. Of course, the song was originally written and performed by Canadian rock band, The Guess who, in 1970. The cover version came out in 1999, when Lenny Kravitz recorded the song for the Austin Powers: The Spy Who Shagged Me soundtrack.
The Guess Who is one of my favorite, less-known bands of the 70’s. While they were fairly successful, compared to popularity of The Beatles, The Rolling Stones, and other bands of that time period, well… there’s no comparison.
Ironically, while “American Woman” is one of my favorite songs of theirs, the first time I actually heard the song was the Lenny Kravitz cover in the 90’s.
I chose this song because, outside of me simply enjoying both versions, the two also stand as a wonderful example of how different covers can truly be.
Lyrically, the two songs are very different. While the first halves of the songs run near identically, word for word, the second half of Kravitz’s cover strays quite a bit form the original piece.
Part of this is undoubtedly to change the overall meaning and feel of the song. While the original song had been written for political purposes, the remake replaced those themes with sex appeal. Again, this was most likely, largely due to it being the theme for an Austin Powers movie, but the change is noteworthy, nonetheless.
Weirdly enough, when I played the two songs side by side, it seems as though the newer, supposedly more “rocked out” version that Kravitz did actually has a slower rhythm than its 70’s counterpart. Though they are fairly close, I’m sure the second was slowed down a bit more intentionally to give that “sexier,” more seductive, slow feel. If you pay attention to the use of drums and base in both songs, this change becomes all the more apparent.
The most noticeable difference in the songs absolutely comes from the two distinct timbres of the songs. Most noticeable, the artists use two very different guitars. While the basic arrangement of notes may be the same, through different techniques and editing (I noticed quite a bit of reverb in the Kravitz version), there’s an obvious distinction between the end products.
Mr. Kravitz’s voice seemed to have been touched up a bit, as well, in addition to being a different individual than Randy Bachman of The Guess Who.
While there isn’t TOO great a distinction between the two in pitch, the Kravitz version of “American Woman” does seem to have a slightly lower pitch than The Guess Who original. Again, this is probably to add to the sultry connotation of the remake.
Of the six binary terms, I think “Tension and Release” and “Active and Didactic” can be exemplified the easiest.
Most obviously and most frequently, Tension and Release can be seen in the Lenny Kravitz version. Several times in his version of “American Woman,” Kravitz drops the classic, infamous guitar rhythm of the song. This heightens to focus of the listener both into the beat of the song as well as the lyrics. This added tension also makes the following guitar riffs all the more powerful when that release comes.
The Active and Didactic element of the song can be seen in the lyrics of the two songs. As previously stated, they run very similarly. The slight differences in wording, though, and how those words are sung alters one’s perception from the Active listening of The Guess Who, where you’re left to interpret the presented metaphor, to the Didactic listening of Kravitz where he actually means a female who he no longer wants to be around.
In comparing the two, my preference still lies in the original. This isn’t to say that the Kravitz version is bad, I actually do find it enjoyable to listen to, but I can’t help it. The heart wants what it wants, and while The Guess Who may not have earned a spot next to The Beatles in the Rock and Roll history books, I cannot shake my love for the feel and style of the oldies
Blog 5A - Visual Framing
For my image, I decided to use one of Goossens’ paintings. Though I don’t’ know the name of the piece, I made this selection because of how Goosens seems to format his imagery. In nearly every work of art I’ve seen of Goosens’, there seems to be one item that’s put in the foreground, while something simultaneously appears in the distance, with various, simplistic line decisions that keep the eye flowing from one element to the next.
In the normal, unedited piece, Goosens’ use of lines and shape are visibly apparent. Given the rounded, soft, cool colors of the piece, what immediately draws one’s attention is the giant book in the sky. The size of the book, in and of itself, plays into Goosens’ choices with lines, shapes, and depth cues, but I’ll get into that later.
By having the book be the first thing the viewer sees, it becomes the main focus of the piece. In the shape of the book, the lines created by the book’s edges draw the eyes to the corner. That corner, then, causes another line as one’s eyes follow the drip into the horizon. Because of the visual intensity and contrast between said droplet and the brightened grass below, the viewer’s eyes then wonder across the horizon and explore the rest of the piece.
As I mentioned earlier, Goosens uses quite a few depth cues to emphasize the book’s size and add to the overall space of the compilation. By not having the droplet cross the horizon line, an implication is made that the book hovers above the ground, adding to the book’s perceived size. Additionally, Goosens uses darker, faded colors for the greens on the horizon line, giving even more depth to the scene.
When cropping for my close-up portion, I mostly aimed to highlight how important Goosens’ techniques were in the original. However, in my image, some of our framing topics can still be seen. Through color changes, there is still implied depth in the new image. Additionally, while not exactly on the mark, one of the spots of light as well as a cloud seem to almost line up with two of the horizontal lines from the rules of thirds. Ultimately, though, I mainly wanted to display just how different the effect of an image can have without proper framing.
Either way, both images seem to exemplify the binary terms of “Active / Didactic,” and “Conscious / Subconscious.” Because the image is an abstract, we’re very much left to actively search out the information and meaning that is being transferred to us. This piece actively makes you think. However, due to the conscious / subconscious elements, I would not be surprised if most people came to a similar conclusion.
The use of blue and green colors often subconsciously reminds one of nature and the environment, while books often symbolize knowledge and education. Coupled with the obvious waves on the book’s page, leading to a drop pouring off the end, I’d say that most people would find similar meaning in the work if asked to. Even, possibly, in the resized portion.
Blog 4B - Our Song
In place of my three audio critiques, Mr. Williams told me that I should, instead, write out a short review of my major key song, which we posted online here.
I don’t know what all to say about this project. In all honesty, the true artist behind this song was Kyle Miller. As an audio major, he took the forefront in putting together these songs, while I helped with minor details and switching up different audio tones.
Using the bass as the main rhythm of the song, we began adding more and more elements to the compilation to create different moods at different points in the song.
At the beginning, the song almost gives off a “70’s/80’s, Good cop / Bad cop” tv theme vibe (While making it, I was very much reminded of Starsky and Hutch). The contrasting timbre of the brass horns to the rest of the layers also adds to this initial feel.
As the song progresses, many more electronic noises are added. The almost chaotic organization of the electronic notes, and the contrasting speed they provide, a nice alteration and transition in the song. The combination reminded me of old 8-bit games, like Sonic or Megaman. This also connected this song to our other song, which drew inspiration from such games.
In the end, I was very pleased with how our projects turned out. Though they were fairly simplistic in comparison to other, well known songs, I think our final products turned out very nicely. I have both on my computer, and listen to them every not and then. I’m happy with what we accomplished.
I don’t know what all to say about this project. In all honesty, the true artist behind this song was Kyle Miller. As an audio major, he took the forefront in putting together these songs, while I helped with minor details and switching up different audio tones.
Using the bass as the main rhythm of the song, we began adding more and more elements to the compilation to create different moods at different points in the song.
At the beginning, the song almost gives off a “70’s/80’s, Good cop / Bad cop” tv theme vibe (While making it, I was very much reminded of Starsky and Hutch). The contrasting timbre of the brass horns to the rest of the layers also adds to this initial feel.
As the song progresses, many more electronic noises are added. The almost chaotic organization of the electronic notes, and the contrasting speed they provide, a nice alteration and transition in the song. The combination reminded me of old 8-bit games, like Sonic or Megaman. This also connected this song to our other song, which drew inspiration from such games.
In the end, I was very pleased with how our projects turned out. Though they were fairly simplistic in comparison to other, well known songs, I think our final products turned out very nicely. I have both on my computer, and listen to them every not and then. I’m happy with what we accomplished.
Blog 4A - Brainwashed
"Brainwashed" - Seth Godin
My Summaries:
Acknowledge the Lizard
“The Lizard” is a metaphor for our instinctual temptation to not go outside our comfort zone(s). In this section, or “layer,” Godin explains how we all have a baser inclination towards not wanting to be laughed at or humiliated, stemming from an overall fear of rejection from our peers.
This fear, taking the form of one’s inner monologue or self-doubt, can ultimately shut down one’s mind, making it impossible for them to achieve their goal(s). Only by acknowledging and understanding this instinct can we work, as artists, to overcome it.
I can relate to this, in remembering my first time at stand-up. I remember how nervous I was, how unconfident I felt in facing that stage and all those people. Of course, you want people to laugh at what you’re saying, but you don’t want to be the butt of your own joke. It wasn’t until I finally got up there, and started telling my jokes, that I realized I was the only thing holding myself back. While I still faced that in some following shows, it’s something you have to work at, and gets easier to face every time.
Connect
They say that networking is one of the most important lessons one learns in their life. Essentially, that’s the point Godin gets across with the section, “Connect.”
Many people mistake the number of people you meet, or followers you have, or friends acquired on Facebook with legitimate networking. Your “online footprint” does not matter as much as real world experience. However, using the internet and those small connections, can also lend to greater connections down the road.
If we make art, another one of Godin’s sections, who we know and who we distribute that art to can make all the difference. Godin exemplified Shepard Fairey, a man who created a poster of Barack Obama that wound up spreading throughout the internet. He may not have made any money off the endeavor, but people now know his name and his work, an invaluable asset. From one little art project, he’s now connected to the world. He won’t have to look for jobs, they’ll find him.
In regards to the Blog…
I have mixed feelings on how to respond to this. On one level, after reading this article, yes, I feel like these blogs do conflict with this fight against our programming. We’re all being given the same standard rubric, we’re each given the same assignments, and I’d hazard a guess that near none of my fellow students have shared their blog with anyone outside the class. All of our work goes straight into the grade. However, to call these assignments “worthless” seems a bit extreme. Through our lab work, we’ve been able to show and explore our creative sides. Through our songs and sounds capes, we’ve expressed emotions and conveyed them in different ways. Through our blog, we’re able to show that we actually know what we’re talking about.
I feel like, if people in the class had their friends reading their blogs, if sharing these and connecting with others was part of the assignment, people would give a much more personal vibe to their work. We’d be doing more than simply following a grade sheet, we’d be networking and connecting to the world. Additionally, if the blog assignments were a little bit looser, and a bit more personal, I think that people would not only put more effort into their posts, but maybe actually enjoy doing the work as well.
My Summaries:
Acknowledge the Lizard
“The Lizard” is a metaphor for our instinctual temptation to not go outside our comfort zone(s). In this section, or “layer,” Godin explains how we all have a baser inclination towards not wanting to be laughed at or humiliated, stemming from an overall fear of rejection from our peers.
This fear, taking the form of one’s inner monologue or self-doubt, can ultimately shut down one’s mind, making it impossible for them to achieve their goal(s). Only by acknowledging and understanding this instinct can we work, as artists, to overcome it.
I can relate to this, in remembering my first time at stand-up. I remember how nervous I was, how unconfident I felt in facing that stage and all those people. Of course, you want people to laugh at what you’re saying, but you don’t want to be the butt of your own joke. It wasn’t until I finally got up there, and started telling my jokes, that I realized I was the only thing holding myself back. While I still faced that in some following shows, it’s something you have to work at, and gets easier to face every time.
Connect
They say that networking is one of the most important lessons one learns in their life. Essentially, that’s the point Godin gets across with the section, “Connect.”
Many people mistake the number of people you meet, or followers you have, or friends acquired on Facebook with legitimate networking. Your “online footprint” does not matter as much as real world experience. However, using the internet and those small connections, can also lend to greater connections down the road.
If we make art, another one of Godin’s sections, who we know and who we distribute that art to can make all the difference. Godin exemplified Shepard Fairey, a man who created a poster of Barack Obama that wound up spreading throughout the internet. He may not have made any money off the endeavor, but people now know his name and his work, an invaluable asset. From one little art project, he’s now connected to the world. He won’t have to look for jobs, they’ll find him.
In regards to the Blog…
I have mixed feelings on how to respond to this. On one level, after reading this article, yes, I feel like these blogs do conflict with this fight against our programming. We’re all being given the same standard rubric, we’re each given the same assignments, and I’d hazard a guess that near none of my fellow students have shared their blog with anyone outside the class. All of our work goes straight into the grade. However, to call these assignments “worthless” seems a bit extreme. Through our lab work, we’ve been able to show and explore our creative sides. Through our songs and sounds capes, we’ve expressed emotions and conveyed them in different ways. Through our blog, we’re able to show that we actually know what we’re talking about.
I feel like, if people in the class had their friends reading their blogs, if sharing these and connecting with others was part of the assignment, people would give a much more personal vibe to their work. We’d be doing more than simply following a grade sheet, we’d be networking and connecting to the world. Additionally, if the blog assignments were a little bit looser, and a bit more personal, I think that people would not only put more effort into their posts, but maybe actually enjoy doing the work as well.
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