movinglmages07 Final Project

Requirements

Shoot and edit a short video project in a team. Each will be 3-5 members - no more, no less - with one director, one DOP/camera person, one sound person and one editor (director can be editor if there are only three students in a team).

Please include your project concept with your final project and make sure your team clearly identifies each team member’s role in the project and the reason they chose this role.

This final project should build from the best project concept from the team and should clearly build on it, as well as the treatment, storyboard, production design, lighting and sound design assignments.

***Your projects will be posted online and presented in a final screening in week 14, for other students to view, so please provide:

1. a small, compressed web version using Soreson codec for Quicktime AND
2. a version to hand in on CD or DVD, compressed using either Apple's H264 codec or MPEG4 - viewable for Quicktime or in a DVD player.

Make sure your assignment is clearly labeled and packaged, with name, section and student number, with any special viewing instructions included in a README.txt file burned with your project.

Due Date: Week 13 for work-in-progress presentations + critique and

Week 14 for final screenings - April 10, 3:30 - 6:20, Theatre 2600

Project details should follow plans as discussed in your project proposal, storyboard and treatment, which should be included with any changes that have been made from the first instantiation of the documents.

Your project should:

• be 2-3 minutes in length;
  
  
• have a readme.txt file with it with the length of the piece, credits and roles of each team member and any special format, codec or viewing instructions to ensure ease of viewing;
  
  
• must be compressed to fit on a 700 mb cd rom or 4 gig DVD and be viewable in Quicktime player or a DVD player only. See more on compression from week 12 online readings;
  
  
• must include a 1 page critique of your team's process - see critique parameters below;
  
  
• be coherent in compositional form throughout entire piece;
  
  
• have employed a variety of editing techniques and conceptual processes;
  
  
• modify the original meaning of your raw material substantially through the use of editing, repetition, and compositional strategies.

All material MUST be original material shot and edited by your team - not from another source.

Compositional techniques to be incorporated to create variations or transformations:

• 2-3 of Eisenstein's montage techniques;
  
  
• 1-3 of Zettl's montage techniques (different than Eisenstein's - see online readings);
  
  
• 1-3 continuity techniques.
  

1-3 of the following additional techniques using special effects in AfterEffects to be incorporated:

• Inversion (using the same clip in forward, backward, or sideways motions);
  
  
• Intercutting (placing small segments of a second clip 'inside' another clip);
  
  
• Canon (playing a series of clips one after the other in a 'question', 'answer' form);
  
  
• Slow Motion (reducing the playback speed of the clip);
  
  
• Accelerated Motion (increasing the playback speed of the clip);
  
  
• Add noise (add a filter to a clip);
  
  
• Reduce or increase saturation;
  
  
• Superimposition (place clips on top of one another and reduce the opacity of clips so that both are visible simultaneously. This can be done with the same clip 'in canon' with itself, or with multiple clips).

Students must submit a written team critique of their project (1 page max).

Critique how effectively you think your team project works on a creative, technical and cultural level.

• How focused is your project in terms of conveying your original concept?
• How effectively do you think your project conveys what you intended?

Identify the main influences on your project. Explain why you have made the specific design, abstract/non-narrative choices. Refer to readings or other visual texts that may have influenced your decisions.

You MUST include references with your critique.

Refer to your Project Proposal.

• How closely did the completed project stay to your team's original proposal?
  
  
• What changes did your team make? Why did you make them?
  
  
• If you had the time, is there anything you would change about your team's project?
  
  
• How important is it to reflect on prior creative choices and leave spaces for change?
  
  
• Did your team members achieve your desired learning outcomes? Why? Why not?
  
  
• What aspects of the project were most difficult and what aspects were easy (practical, team work, technical, aesthetic, conceptual)?
  
  
• Include at least two examples of 'problems' your team encountered while making your project and what each of you did to 'solve' them.
  
  
• In going through the process of producing a digital video project, what ideas and thoughts have you each developed towards the production of future projects for coming semesters?

-Given that you have only a few minutes of video time, create an abbreviated LIFE by accelerating time, showing the birth, life, and death of something, someone.

-Given that you can repeat, redo, run backwards, speed up, slow down, etc. any filmed event, construct a fantasy world that proceeds on YOUR TIME

-construct a video poem

-construct a Video portrait of someone you know.

-Disrupt the normal order of things. Time normally operates beginning to end, start to finish. Cause and effect. What happens when these concepts are shuffled

"Film is not now nor has it ever been the technology of truth. It lies as a speed of 24 frames a second....The narrative guiding the interpretation of the images must flow along a unilinear pathway, at such a speed that the viewer has not time for any reflection. Key in this movement is to produce the impression that each image is causatively linked to the images preceding it. Establishment of causality between the images renders a seamless effect and keeps the viewers' interpretive flow moving along a predetermined course."

Given this idea, how can you disrupt and reinterpret the causality of your image sequences?

Artist Paul Pfeiffer's work has sections of the image that are erased and deleted, creating an alternate version of a specific event. For example, footage of the famous boxing matches between Mohammad Ali and George Foreman, Joe Frazier and Sonny Liston has been digitally altered so that the bodies of the boxers are removed.