Sunday 30 November 2008
Monday 24 November 2008
Tuesday 11 November 2008
Title Sequence
Stephen Frankfurt-To Kill a Mockingbird
Alfred hitchcock-Cure for insomnia/Psycho
kyle cooper-seven
PROLOGUE
Imaginary Forces
Kenneth Branagh-Henry V
T4
Casino Royale
Alfred hitchcock-Cure for insomnia/Psycho
kyle cooper-seven
PROLOGUE
Imaginary Forces
Kenneth Branagh-Henry V
T4
Casino Royale
The usage
Film
A film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement.
In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently described either in picture, or in additional text.
Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Other directors storyboard only certain scenes, or none at all. Animation directors are usually required to storyboard extensively, sometimes in place of doing a script.
Theater
A common misconception is that storyboards are not used in theater. They are frequently special tools that directors and playwrights use to understand the layout of the scene. The great Russian theatre practitioner Constantin Stanislavski developed storyboards in his detailed production plans for his Moscow Art Theatre performances (such as of Chekhov's The Seagull in 1898). The German director and dramatist Bertolt Brecht developed detailed storyboards as part of his dramaturgical method of "fabels."
Animatics
In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.
This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage can avoid animation of scenes that would be edited out of the film. Animation is usually an expensive process, so there should be a minimum "deleted scenes" if the film is to be completed within budget.
Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together. Some feature film DVD special features include production animatics.
Photomatic
A Photomatic is a series of still photographs edited together and presented on screen in a sequence. Usually, a voice-over, soundtrack and sound effects are added to the piece to create a presentation to show how a film could be shot and cut together. Increasingly used by advertisers and advertising agencies to research the effectiveness of their proposed storyboard before committing to a 'full up' television advertisement.
The photomatic is usually a research tool, similar to an animatic, in that it represents the work to a test audience so that the commissioners of the work can gauge its effectiveness.
Originally, photographs were taken using colour negative film. A selection would be made from contact sheets and prints made. The prints would be placed on a rostrum and recorded to videotape using a standard video camera. Any moves, pans or zooms would have to be made in camera. The capured scenes could then be edited.
Digital photography, web access to stock photography and Non-linear editing programs have had a marked impact on this way of film making also leading to the term 'digimatic'. Images can be shot and edited very quickly to allow important creative decisions to be made 'live'. Photo composite animations can build intricate scenes that would normally be beyond many test film budgets.
The term 'photomatic' is probably derived from 'animatic' or photo-animation.
Business
Storyboards were adapted from the film industry to business, purportedly by Howard Hughes of Hughes Aircraft. Today they are used by industry for planning ad campaigns, commercials, a proposal or other projects intended to convince or compel to action.
A "quality storyboard" is a tool to help facilitate the introduction of a quality improvement process into an organisation.
Design comics are a type of storyboard used to include a customer or other characters into a narrative. Design comics are most often used in designing web sites or illustrating product usage scenarios during design.
Interactive media
More recently the term storyboard has been used in the fields of web development, software development and instructional design to present and describe, in written, interactive events as well as audio and motion, particularly on user interfaces and electronic pages.
A film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement.
In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently described either in picture, or in additional text.
Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Other directors storyboard only certain scenes, or none at all. Animation directors are usually required to storyboard extensively, sometimes in place of doing a script.
Theater
A common misconception is that storyboards are not used in theater. They are frequently special tools that directors and playwrights use to understand the layout of the scene. The great Russian theatre practitioner Constantin Stanislavski developed storyboards in his detailed production plans for his Moscow Art Theatre performances (such as of Chekhov's The Seagull in 1898). The German director and dramatist Bertolt Brecht developed detailed storyboards as part of his dramaturgical method of "fabels."
Animatics
In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.
This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage can avoid animation of scenes that would be edited out of the film. Animation is usually an expensive process, so there should be a minimum "deleted scenes" if the film is to be completed within budget.
Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together. Some feature film DVD special features include production animatics.
Photomatic
A Photomatic is a series of still photographs edited together and presented on screen in a sequence. Usually, a voice-over, soundtrack and sound effects are added to the piece to create a presentation to show how a film could be shot and cut together. Increasingly used by advertisers and advertising agencies to research the effectiveness of their proposed storyboard before committing to a 'full up' television advertisement.
The photomatic is usually a research tool, similar to an animatic, in that it represents the work to a test audience so that the commissioners of the work can gauge its effectiveness.
Originally, photographs were taken using colour negative film. A selection would be made from contact sheets and prints made. The prints would be placed on a rostrum and recorded to videotape using a standard video camera. Any moves, pans or zooms would have to be made in camera. The capured scenes could then be edited.
Digital photography, web access to stock photography and Non-linear editing programs have had a marked impact on this way of film making also leading to the term 'digimatic'. Images can be shot and edited very quickly to allow important creative decisions to be made 'live'. Photo composite animations can build intricate scenes that would normally be beyond many test film budgets.
The term 'photomatic' is probably derived from 'animatic' or photo-animation.
Business
Storyboards were adapted from the film industry to business, purportedly by Howard Hughes of Hughes Aircraft. Today they are used by industry for planning ad campaigns, commercials, a proposal or other projects intended to convince or compel to action.
A "quality storyboard" is a tool to help facilitate the introduction of a quality improvement process into an organisation.
Design comics are a type of storyboard used to include a customer or other characters into a narrative. Design comics are most often used in designing web sites or illustrating product usage scenarios during design.
Interactive media
More recently the term storyboard has been used in the fields of web development, software development and instructional design to present and describe, in written, interactive events as well as audio and motion, particularly on user interfaces and electronic pages.
the origin of storyboards
Origins
The storyboarding process can be very tedious and intricate. The form widely known today was developed at the Walt Disney studio during the early 1930s. In the biography of her father, The Story of Walt Disney (Henry Holt, 1956), Diane Disney Miller explains that the first complete storyboards were created for the 1933 Disney short Three Little Pigs. According to John Canemaker, in Paper Dreams: The Art and Artists of Disney Storyboards (1999, Hyperion Press), the first storyboards at Disney evolved from comic-book like "story sketches" created in the 1920s to illustrate concepts for animated cartoon short subjects such as Plane Crazy and Steamboat Willie.
According to Christopher Finch in The Art of Walt Disney (Abrams, 1973), Disney credited animator Webb Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin board to tell a story in sequence, thus creating the first storyboard.
One of the first live action films to be completely storyboarded was Gone with the Wind. William Cameron Menzies, the film's production designer, was hired by David Selznik to design every shot of the film. Many large budget silent films were also storyboarded but most of this material has been lost during the reduction of the studio archives during the 1970s.
Storyboarding became popular in live-action film production during the early 1940s, and grew into a standard medium for previsualization of films: "We can see the last half century ... as the period in which production design was largely characterized by adoption of the storyboard", wrote curator Annette Michelson in a 1993 catalog for the Pace Gallery exhibit Drawing into Film: Director's Drawings, which featured storyboards of popular films.
Storyboarding's most recent use is outlining websites and other interactive media projects during the design phase
The storyboarding process can be very tedious and intricate. The form widely known today was developed at the Walt Disney studio during the early 1930s. In the biography of her father, The Story of Walt Disney (Henry Holt, 1956), Diane Disney Miller explains that the first complete storyboards were created for the 1933 Disney short Three Little Pigs. According to John Canemaker, in Paper Dreams: The Art and Artists of Disney Storyboards (1999, Hyperion Press), the first storyboards at Disney evolved from comic-book like "story sketches" created in the 1920s to illustrate concepts for animated cartoon short subjects such as Plane Crazy and Steamboat Willie.
According to Christopher Finch in The Art of Walt Disney (Abrams, 1973), Disney credited animator Webb Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin board to tell a story in sequence, thus creating the first storyboard.
One of the first live action films to be completely storyboarded was Gone with the Wind. William Cameron Menzies, the film's production designer, was hired by David Selznik to design every shot of the film. Many large budget silent films were also storyboarded but most of this material has been lost during the reduction of the studio archives during the 1970s.
Storyboarding became popular in live-action film production during the early 1940s, and grew into a standard medium for previsualization of films: "We can see the last half century ... as the period in which production design was largely characterized by adoption of the storyboard", wrote curator Annette Michelson in a 1993 catalog for the Pace Gallery exhibit Drawing into Film: Director's Drawings, which featured storyboards of popular films.
Storyboarding's most recent use is outlining websites and other interactive media projects during the design phase
Monday 10 November 2008
My final Draft
Final draft
My personal project
For my personal project I am intend to make a video/booklet about the affect illness or disease have on people life I want the video to be a hard hit video that going to inform and people watching it. I'm focus on young people and people of the age group of 16-24
There going to be four parts
The research
The design
The outcome
The evaluation
Research
I am going to collect information on illness and the affect that it has on the families and then developing the idea into a video by look at various film/designer
Design
what I want my video to be base on the look, feel, the age group, the people that going to be target to the purpose of the video is to teach and be creative to a mass of people highlighting what design and the environment can do
Evaluation
the public what the think of it e.g teachers, other students
still need to do my weekly plan
My personal project
For my personal project I am intend to make a video/booklet about the affect illness or disease have on people life I want the video to be a hard hit video that going to inform and people watching it. I'm focus on young people and people of the age group of 16-24
There going to be four parts
The research
The design
The outcome
The evaluation
Research
I am going to collect information on illness and the affect that it has on the families and then developing the idea into a video by look at various film/designer
Design
what I want my video to be base on the look, feel, the age group, the people that going to be target to the purpose of the video is to teach and be creative to a mass of people highlighting what design and the environment can do
Evaluation
the public what the think of it e.g teachers, other students
still need to do my weekly plan
Monday 3 November 2008
Personal Project
my personal project
for my personal project i am intend to make a video/book about the affect illness or disease i want the video to be a hard hit video that going to inform and shock people watching it.
I'm focus on young people and people of the age group of 16-24
there going to be four parts
the research
the design
the outcome
the evaluation
Research
i am going to collect information on illness and the affect that it has on the families and then developing the idea into a video by look at various film/designer
Design
what i want my video to be base on the look , feel , the age group , the people that going to be link to
evaluation
the public what the think of it
for my personal project i am intend to make a video/book about the affect illness or disease i want the video to be a hard hit video that going to inform and shock people watching it.
I'm focus on young people and people of the age group of 16-24
there going to be four parts
the research
the design
the outcome
the evaluation
Research
i am going to collect information on illness and the affect that it has on the families and then developing the idea into a video by look at various film/designer
Design
what i want my video to be base on the look , feel , the age group , the people that going to be link to
evaluation
the public what the think of it
Monday 20 October 2008
Sunday 12 October 2008
Tuesday 7 October 2008
Sunday 5 October 2008
the beauty within us all
Happy
Babies are naturally attracted to happy faces. This is why when you smile they would smile too. They are natural reflectors of how you feel, and they help define what is beauty. When we are happy, our brain let off adrenalin, there is light in our eyes, we walk with vigor, and we have hope for living. When we are down, our eyes are naturally downcast, our face tense up, we slouch and our mind is elsewhere. We tend to wear darker colors too, so as not to bring attention to ourselves. Happy people attract others, while sad people tend to pull people away.
Babies are naturally attracted to happy faces. This is why when you smile they would smile too. They are natural reflectors of how you feel, and they help define what is beauty. When we are happy, our brain let off adrenalin, there is light in our eyes, we walk with vigor, and we have hope for living. When we are down, our eyes are naturally downcast, our face tense up, we slouch and our mind is elsewhere. We tend to wear darker colors too, so as not to bring attention to ourselves. Happy people attract others, while sad people tend to pull people away.
FALLEN ANGEL
the idea that one has to fall from heaven 2 have a body like is or that us people should be aspiring to be perfect like angel are
Historical Views of Beauty
Judging beauty is deciding whether you want your kids to carry that person`s genes," says Texas University psychologist, Devendra Singh. (Newsweek, 1996). This brief explanation sums up the reason why we perceive beauty. Today, sexual selection may not be in the forefront of people and their perception of female beauty, but it was millions of years ago and this perception has evolved as greatly as one may think. One of the best indicators of a culture`s perception of an ideal female body may be their artwork. For example, in the Sandro Botticelli painting, in the 13th Century, the Birth of Venus, one can see the goddess of love, Venus, standing nude in a large clam. Her body is athletic and muscular. She has a smaller chest, and heavy hips and thighs. Her face has soft, round features, much like the rest of her body. She also seems to have an impossibly long neck and the slope of her shoulder seems a bit unrealistic. However, The Birth of Venus is still a classic example of how the perception of female beauty at a certain time in history can be ascertained by studying artwork.
take from http://beauty.indianetzone.com/1/historical_views_beauty.htm
take from http://beauty.indianetzone.com/1/historical_views_beauty.htm
Dove The Evolution Of Beauty
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