Carelessness (Final Production II Project)

For my personal project, I decided to do a PSA on global warming and the effect of people’s actions on the environment in general. The piece consists of a compilation of various clips from around the world of envrionmentsbeing destroyed, the effects of said destruction, audio of people speaking about the situation and a moving soundtrack to tie it all together. The cuts back and forth from destruction by nature and humans causing damage to the environment helps create a “cause and effect” connection.


Archetype and Symbolic Visual Structure

For my archetype I have decided to tell the story of The Abused. The Abused is the character of a story who can never catch a break from his peers or who has their flaws exploited. This can range from someone doing something to/around said person that they know causes their diagnosed PTSD symptoms to get worse, act as if something is there that isn’t which would lead to the person to hallucinate, being shoved around, taken advantage of, etc. All of this leads to said character losing their grip on reality and reaching their breaking point. As The Abused’s condition worsens, the world around them starts to fall apart. They watch every step they take which becomes a physically and mentally exhausting task over time. Before long, The Abused reaches their peak and crumbles.

The three elemets from The Visual Story that I will be using are brightness (under color), rhythm (rhythm of movement) and relative movement. Brightness will be used to display the intenisty of the dark state that the character finds themselves in as the video progresses. As for relative movement, this will be used in the hallways shots to gauge the slow pace in which the character is moving. Rhythm will be used for shots in which characters enter and ext the frame from the sides as well as moments when the character stops in the hallway after being attacked by someone else.

Mood board:ProductionII_Project2MoodBoard.png


Elements from book:

Brightness (Under color)

Screenshot (223).png

Relative Movement

Screenshot (222)

Rhythm (Rhythm of movement)

Production II – Surrealism Video

Chosen theme: Sureality.

Screenshot (188).png

Focus: In various shots throughout the video, focus is pulled to one side of the spectrum to the other. In the screenshot above, the character is exiting a foggy state and becoming aware of his surroundings. To allow the viewers to feel the same, the focus is out on both the character as well as hit surroundings. This quickly changes as the camera pulls away.

Screenshot (190).png

Color Seperation: For parts of the sequence in which the character is further into his trip, I used color seperatiotion to enhance the “new state” perspective. I could have used a fisheye lens to create a trippy effect, but changing the color palette of the world was a much stronger effect. This plus the inclusion of rough edges creates a new world type visual for the segment.

Screenshot (191)

Camera movement: In this shot, the camera pans left to right to transition the viewer into a new region. By measuring the disatance from both walls while filming and keeping the camera level, I was able to create a seamless pan that appears to occur in one shot/settings, but was done infact in two. The feathering increases the effect by making a nice blend to reduce the chances of a shake being detected by the user.

Three Elements of Composition

screenshot (139)screenshot (140)screenshot (141)Dunkirk (2017):

Virtual Tracking: An imaginary line created by the viewer while they follow the motion path of an object in a scene

In Dunkirk, virtual tracking is used quite frequently during the dofight scenes; preferably when shot at a distance to allow the user a wider view of what is happening in the skies above. In this example, a German fighter plane (Messerschmitt 109) enters the frame from the left side and passes across to the right in the background. The viewer’s vision is drawn to the horizontally moving object and in return results in virtual tracking.

screenshot (146)

Saving Private Ryan (1998):

Deep Space: The illusion  of creating three-dimensional depth on a flat screen surface; heightened by the use of depth cues.

In the opening scene of Saving Private Ryan, a group of marines are storming Omaha beach, Green Dog Sector while being under heavy enemy fire. Throughout the various shots of the sixteen-minute-long opener, various techniques are used to give the illusion of depth in an attempt to make the viewer feel as though they are on the beach with the soldiers. By placing Czech Headgehogs (the large “X” shaped steel items littered along the shoreline), having bodies lay further away from the camera as well as close up and Higgins boats driving up to the shore, the final image is given a great series of depth as we move around the location. For the example above, the camera moves from left to right, following a soldier as he makes his way to the sea wall for cover. As we move along with him, items pass right in front of us as if we were running by them, whereas items further away stay in frame and exit the frame later on. This parallax effect helps to increase the sense of depth in the shot and further immerse the viewer into the scene.

screenshot (153)screenshot (155)screenshot (156)

Kingsmen: The Secret Service (2014)

Size Difference: The use of an objects size to determine where it is located in 3D space and to increase the appearance of depth.

In Kingsmen: The Secret Service, Harry enters a church to meet with the antagonist but finds the place to be empty with the exception of a large number of church-goers. As he starts to leave the antagonist activates a device which causes those in its audible proximity to be filled with intense anger, aggression and as a result, strength. In the first example shot, we can see that Harry is closest to the foreground rather than the others due to his towering stature over them. The woman condeming him to Hell as he leaves is in the midground, for she is slightly in focus with Harry but noticably shorter; further away from the camera. The other church-goers in the back, even those of a tall stature, appear shorter than Harry or the woman, as they are in the background of the shot and further away from the camera than the other two characters. They are also out of focus which helps us keep out attention on Harry and the woman following him as he tries to leave. The use of size difference in this shot helps to give the illusion of depth to show not only how great in size the church is, but also make the user feel as though they are cramped inside with all of those people. The same rules apply to the second image in which Harry pulls his gun on the woman (being controlled by the antagonist’s device). He is in focus and in the foreground; appearing larger. Meanwhile in the background and out of focus is another tall male character, but he appears shorter than Harry.¬† The camera zooms out to intensify this effect, ending with Harry shooting the woman at point-blank; her head snapping back towards the camera and again increasing the sense of depth in the shot.