Tiny Spaceships Learning Objective Students Will Learn About and Apply the Concepts of Dilation, Scale Factor, and Forced Perspective Using Miniatures
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Tellin Your Story
2017 TELLING YOUR STORY Using storytelling for social good and the mission of the Peace Corps WHY STORYTELLING? • Makes sense of the world around us • Connects us with people • Inspires empathy IN THE PUBLIC SECTOR Gain visibility, credibility • Important to be recognized and to be known as an organization making valuable contributions to the communities it serves. Create connections, gather support • Connect with your audience and motivate them to support your organization • A good image/reputation inspires trust in your organization which leads to a more secure future with funders Transform yourself and your work • Allows you, the storyteller, to reflect on where you came from, where you are now, and where you hope to go in the future THE PROCESS (re)discover | build | share REFLECT • Remember a time when you stepped out of your comfort zone and tackled a problem to make a positive difference in the world. • What was your “a-ha” moment? • Recall this moment using all of your senses. How did it look? Feel? Sound? Taste? • Capture the moment as best you can using written words, an audio recording, a drawing… (re)discover | build | share Big idea How To Challenge Impact The hook Call to Action (re)discover | build | share THE HOOK The opening that pulls your audience into the story • Paint the scene. Describe the when and where of your story • Introduce the protagonist. From what perspective do you want to tell your story? (re)discover | build | share THE CHALLENGE Introduction to the central problem • Describe the moment when you made a connection with the problem. -
Comparative Look at Spectator Identification in Films and Video Games
Comparative Look at Spectator Identification in Films and Video Games by Taylor Reiner A THESIS submitted to Oregon State University University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Computer Science (Honors Scholar) Presented March 2, 2016 Commencement June 2016 AN ABSTRACT OF THE THESIS OF Taylor Reiner for the degree of Honors Baccalaureate of Science in Computer Science presented on March 2, 2016. Title: Comparative Look at Spectator Identification in Films and Video Games. Abstract approved: ____________________________________________________________ Jon Lewis Often, characters of entertainment works, such as movies, books, or video games, display traits that people find relatable. In certain cases, a spectator of a work will develop such a strong psychological bond with a character that they identify with them. Identification with fictional characters is usually a subconscious act where the viewer or reader will empathize and project themselves onto a character in the film or book they are experiencing. Although this sense of identification is universal in entertainment mediums, films and video games have distinct ways that they cultivate this identification phenomenon. This thesis examined a variety of identification catalysts, suppressors, and theories in efforts to create a comprehensive comparative look at identification between the two mediums. With technological, interactive, and format differences, these mediums differ greatly in their effectiveness at fostering identification in the spectator. Although video games are similar to film, their interactivity pushes new boundaries of identification that film does not. Alternatively, film's character leniency allows for a range of identification possibilities that video games do not. -
ABSTRACT Writing and Directing the Short Film, Stray Brynn David
ABSTRACT Writing and Directing the Short Film, Stray Brynn David Sankey, M.A. Advisor: Christopher J. Hansen, M.F.A. This thesis outlines the process of writing and directing the short film, Stray. It will also examine many of the underlying theoretical and filmic influences that have informed the director’s creative decisions and methodological approach. Personal goals and thematic content is discussed, and a full script analysis is also provided. ! Writing and Directing the Short Film, Stray by Brynn David Sankey, B.M.C.M. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James M. Kendrick, Ph.D. Marion D. Castleberry, Ph.D. Accepted by the Graduate School August 2015 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2014 by Brynn Sankey All rights reserved ! TABLE OF CONTENTS ! "#$%!&'!'#()*+$!,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,!-! ./01%+*!&2+!,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,!3! Introduction ......................................................................................................................1 Personal and Professional -
Read Book How to Use Creative Perspective Kindle
HOW TO USE CREATIVE PERSPECTIVE PDF, EPUB, EBOOK Ernest W. Watson | 160 pages | 15 May 1993 | Dover Publications Inc. | 9780486273372 | English | New York, United States How to Use Creative Perspective PDF Book You need to place your subject in the exact spot, or else people will notice the illusion right away. This amount is subject to change until you make payment. Or they use streets and sidewalks to create an illusion of depth or height. The Elements of Drawing John Ruskin. Be the first to write a review. Notan Dorr Bothwell. Colorful water drop photography is one of the best options to do so. Learn more - opens in a new window or tab International postage and import charges paid to Pitney Bowes Inc. Other Editions 2. You can use literally anything around you to get started. Please note, the image is for illustrative purposes only, actual book cover, binding and edition may vary. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. International contributors address a broad spectrum of musical creativities in higher education, such as improvisational creativity, empathic creativity and leadership creativity, demonstrating the transformative possibilities of embedding these within higher music education teaching and learning. Need more info? Steven Brown added it Sep 05, West Sussex, United Kingdom. Chapin, Jr. Share with friends Share. There are plenty of ways to interact with them, as well. Covering a wide-range of mediums pen and ink, paint, chalk, digital art, woodwork, and more , Perspective in Action gives readers a more hands-on approach to perspective, as opposed to the usual theoretical presentations found in other books. -
An Investigation Into the Creative Processes in Generating Believable Photorealistic Film Characters
AN INVESTIGATION INTO THE CREATIVE PROCESSES IN GENERATING BELIEVABLE PHOTOREALISTIC FILM CHARACTERS Henry Melki Supervised by Prof. Ian Montgomery Prof. Greg Maguire Faculty of Arts, Humanities & Social Sciences Belfast School of Art Ulster University This dissertation is submitted for the degree of Doctor of Philosophy October 2019 DECLARATION This dissertation is the result of my own work and includes nothing, which is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. I hereby declare that with effect from the date on which the thesis is deposited in the Library of Ulster University, I permit the Librarian of the University to allow the thesis to be copied in whole or in part without reference to me on the understanding that such authority applies to the provision of single copies made for study or for inclusion within the stock of another library. In addition, I permit the thesis to be made available through the Ulster Institutional Repository and/or ETHOS under the terms of the Ulster eTheses Deposit Agreement which I have signed. IT IS A CONDITION OF USE OF THIS THESIS THAT ANYONE WHO CONSULTS IT MUST RECOGNISE THAT THE COPYRIGHT RESTS WITH THE AUTHOR AND THAT NO QUOTATION FROM THE THESIS AND NO INFORMATION DERIVED FROM IT MAY BE PUBLISHED UNLESS THE SOURCE IS PROPERLY ACKNOWLEDGED. ABSTRACT This thesis examines the benefits and challenges that digital Visual Effects have had on character believability. -
1. Introduction 2. Size of Shot
Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 1. Introduction Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film. 2. Size of shot Examples of shot size (in one filmmaker's opinion) The use of different shot sizes can influence the meaning which an audience will interpret. The size of the subject in frame depends on two things: the distance the camera is away from the subject and the focal length of the camera lens. Common shot sizes: • Extreme close-up: Focuses on a single facial feature, such as lips and eyes. • Close-up: May be used to show tension. • Medium shot: Often used, but considered bad practice by many directors, as it often denies setting establishment and is generally less effective than the Close-up. • Long shot • Establishing shot: Mainly used at a new location to give the audience a sense of locality. Choice of shot size is also directly related to the size of the final display screen the audience will see. A Long shot has much more dramatic power on a large theater screen, whereas the same shot would be powerless on a small TV or computer screen. Wednesday, January 18, 2012 Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 3. Mise en scène Mise en scène" refers to what is colloquially known as "the Set," but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the mise en scène to produce intended effects. -
Movies and Magic STEM Learning Activity Resources
STEM ON SCREEN 9-11 Movies and magic STEM Learning activity resources Introduction Key information This programme has been created by STEM Learning, the largest provider of AGE RANGE: 9-11. STEM education and careers support in the UK. It has been developed in SUBJECT LINKS: science, mathematics, design and technology, computing. partnership with STEM Club leaders. DURATION: activities range from 20 to 90 minutes – at least 6 hours in total. Movies and magic FLEXIBILITY: complete the whole programme over a half term or choose individual activities to suit the needs of your Club. Sometimes what looks like magic is RESOURCES: each activity includes a list of the resources required and a actually science! In this programme, comprehensive set of Club leader and pupil notes in the form of guides. pupils will look at magic and movie tricks for inspiration and find out how IMPACT MEASUREMENT: each set of resources is designed to help evaluate it’s done. They explore how things are and assess the progress of Club-based learning on Club members. A useful set of done to make movies look realistic, and assessment tools are available at www.stem.org.uk/stem-clubs investigate whether some of the themes or technology from the movies could be ACHIEVEMENT: pupils that successfully complete an entire set of activities can be possible in real life. rewarded with the downloadable STEM Clubs certificate of achievement. Students may be able to use these resources to work towards a CREST Discovery Award. APPROPRIATE VENUES: club leaders can run most activities in general spaces e.g. -
Sunrise: a Song of Two Humans (1927, F.W
A Level Film Studies - Focus Film Factsheet Sunrise: A Song of Two Humans (1927, F.W. Murnau, USA) CORE STUDY AREAS 1 - STARTING Component 2: Global Filmmaking POINTS - Key Elements of Film Perspectives (AL) Form (Micro Features) Cinematography Core Study Areas: • The opening vacation montage employs Key Elements of Film Form multiple exposures and super-impositions to Meaning & Response convey summertime in an expressionist style. The Contexts of Film • The film uses light sources such as a candle on the table and light through a Specialist Study Area: window ̶ this use of single light sources Critical Debates (AL) is typical of the late silent period. • When the Man and the Wife renew their Rationale for study love in the church, they move from shadow • Sunrise is a ‘super-production, an experimental into light. The lighting is a metaphor for film and a visionary poem’ (Martin Scorsese). the renewal of their marriage vows. The film is unique in that it is a German Mise en Scene Expressionist film made with German talent for a • The film contains many visual oppositions Hollywood Studio (Fox). It reflects silent film at including: day vs. night; the city vs. the its peak as an art form, released just days before country; the dangerous Woman from the premiere of the first ‘talkie’, The Jazz Singer. the City vs. the innocent Wife. • Murnau employs ‘forced perspective’ STARTING POINTS - Useful ̶ an expressionist device where Sequences and Timings/Links objects in the foreground are large, making the background recede. • The Man meets the Woman from the City (10mins) • The mise en scene is symbolic, reflecting the characters’ psychological states. -
Forced Perspective Trick Photography Forced Perspective Photography Ideas
Forced Perspective Trick photography Forced Perspective Photography Ideas • Forced perspective is a type of optical illusion. Objects appear to be a different size or distance due to the angle they have been shot from. • You can turn tiny objects into giants, or shrink buildings. • A classic example of forced perspective is the tourist shot of a person ‘holding’ the Leaning Tower of Pisa. • Forced perspective photography is fun and straightforward. • You can try this technique anywhere you go, get creative! Check out forced perspective poses for inspiration • Popular images include people who appear like gnomes or giants. Even small toys can appear large and realistic. Plan each scene beforehand for a convincing illusion • Every visual element in your frame has to work together • Harmony is the key to a convincing forced perspective shot. • You need to think of how to set up your photos • You need to decide on the necessary props you need for your project • You’ll need to know where to place your camera, and where to position your subjects Take Test Shots • After you plan the shoot, you have to take some test shots before doing the real shoot. • See if you might need some more props or what angles work best so that when you are at your location, you are ready to get started. Try a zoom lens for perspective distortion • You can use just about any lens to create perspective distortion. Your most ideal option would be a zoom lens. • You’re playing around with perspective or false perspective, so expect to adjust your framing and composition a lot. -
Camera and Lens
CHAPTER 3 Camera and Lens Barbara Morgan, Martha Graham in “Letter to the World”. © Barbara Morgan, Willard & Barbara Morgan Archive/Time Inc. is the licensee. CAMERA AND LENS Modern cameras are extremely sophisticated devices, in- ways of controlling the exposure on the film and various volving computer-designed lenses, complicated electron- devices for handling film and controlling focus of the lens. ics, and construction from high-tech materials. In spite of These tasks may be performed automatically by the cam- this complexity, all cameras are basically the same, pro- era or manually by manipulation of the controls. An un- viding a light-tight container for photosensitive materi- derstanding of the basic parts and operation of the camera als—film—and a lens to form an image of the subject and lens will clarify the role that the more sophisticated matter on the film. The other parts of the camera provide electronic devices play in the functioning of the camera. The Camera Film advance Camera body Viewfinder Aperture Lens Shutter Focusing device Film Camera. This is a simple camera, but it contains all the parts necessary for complete control in making photographs. Camera Body. Light-tight enclosure Viewfinder. Shows an approximate view of Shutter. Shields the film from the image until protecting the film from unwanted exposure to the part of the subject that will appear in the the shutter release is pressed, when it opens for light. Opens to allow loading of film. image on the film and may include a method a measured amount of time (the shutter speed) Lens. -
The Director's Method in Contemporary Visual Effects Film
The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter. -
Beyond Viewpoint: X3D Camera Nodes for Digital Cinematography
Calhoun: The NPS Institutional Archive Faculty and Researcher Publications Faculty and Researcher Publications 2009-06 Beyond viewpoint: X3D camera nodes for digital cinematography Weekley, Jeffrey D. ACM Web3D 2009 http://hdl.handle.net/10945/35899 Beyond Viewpoint: X3D Camera Nodes for Digital Cinematography Jeffrey D. Weekley Don Brutzman, Ph.D. MOVES Institute MOVES Institute Naval Postgraduate School Naval Postgraduate School Monterey, CA 93943 Monterey, CA 93943 [email protected] [email protected] ABSTRACT Viewpoint animation. A lack of a nuanced camera, stilted or This paper describes four candidate X3D extension nodes: arbitrary camera movements, and a lack of camera-specific Camera, Shot, Movement and OfflineRendering. An X3D vocabulary generally hinder X3D as a source for high quality lexicon for camera movements is defined so that individuals rendered video. First-class camera capabilities are needed in directing virtual cameras in X3D can directly apply terms that X3D. We propose a Camera node to include: camera movement, film directors and cinematographers understand. This approach movement sequencing, field of view (FOV), f-stop (and thus greatly simplifies the technical tasks involved in creating precise aperture) control, focal length, focus distance, and camera aim. camera animations and setting up still images for digital Such capabilities can enable authors to duplicate, create, photography. Further, candidate methods are examined for demonstrate and record sophisticated camera work in an X3D implementing Depth of Field for focus control. Moving beyond scene. the typical clumsiness of Viewpoint control can enable authors to create compelling still and moving images from X3D scenes. 2. OVERVIEW Many of the elements required for a Camera node already exist Categories and Subject Descriptors in other nodes within X3D.