Thursday, January 13, 2011

Turbulence






Utilizing complicated video coding procedures, the new format provides smooth interaction and transition between scenes as audience members watch — and determine the plot of — Turbulence, created by Prof. Nitzan Ben Shaul of Tel Aviv University's Department of Film and Television. Made with his unique scene-sequencing technique, Turbulence recently won a prize at the Berkeley Video and Film Festival for its technological innovation.



"The film gives people the suspense and thrill of multiple outcomes like those of the films Sliding Doors or Run Lola Run, but it also gives them the power to really choose and influence at a number of key points how the plot of the movie will proceed," says Prof. Ben Shaul. Curious viewers can backtrack, too -- they can go back to a narrative crossroads to see what might have been, never seeing the same ending twice.

A happy American ending or tragic European one?

Using Prof. Ben Shaul's innovative format, the viewer watches the film on a regular or a touch-screen monitor, and an iridescent glow appears on certain "action items" at pivotal plot moments. The viewer can choose whether or not to interact. Should Sol send the text message? If the viewer thinks so, he clicks or touches the screen and activates the cell phone held by the actor.
Turbulence comes with an attractive plot, however it's played out. Three Israeli friends, Edi, Sol and Rona, meet by chance in Manhattan. Twenty years in the past, a protest over the Lebanon War led to an arrest, and the three friends went separate ways. Now, in present-day New York, they say goodbye to the past and two of the characters rekindle a love affair.
How will it end? You decide. Without any viewer interactions, it lasts 83 minutes; with interactions it varies from one hour to two. Whatever choice the viewer makes, Prof. Ben Shaul says, the end leads to closure and viewer satisfaction.
"Sliding Doors and Run Lola Run inspired me. They make you think about options in life, but they don't let you experience what responsibility feels like at crucial decision points," says Prof. Ben Shaul. "In our film you decide where the character should go, and you can decide to return to the point where the plot flipped. It's gripping."

Fit for an iPad

Funded by the Tel Aviv University Technology and Science Committee, the movie is perfect for new touch-screen technologies like iPads or personal airplane movie players. But the movie can also be seen in groups. An individual can be chosen to make the choices, or majority vote can rule.
"It develops optional thinking and can change the way people consume media and advertisements," says Prof. Ben Shaul, who received his Ph.D. from the Cinema Studies Department at New York University.
He hopes to inspire a whole new paradigm of filmmaking and is currently writing a book with the working title What If: Optional Thinking and Narrative Movies.


Interesting Questionnaire

 
Before I will start to record the final video parts I need to design my prototype of interactive video. During the week 12 my second marker recommends me to use SOPI Questionnaire for my user study. This actually could be really useful to achieve the appropriate engagement of the final showcase. 
 
 
ITC SOPI
  Independent Television Commission 2000



Please read the instructions below before continuing

Instructions:

We are interested in finding out what you feel about the experience you have just had
in the ‘DISPLAYED ENVIRONMENT’. We use the term ‘displayed environment’
here, and throughout this questionnaire, to refer to the film, video, computer game or
virtual world that you have just encountered. Some of the questions refer to the
‘CONTENT’ of the displayed environment. By this we mean the story, scenes or
events, or whatever you could see, hear, or sense happening within the displayed
environment. The displayed environment and its content (including representations of
people, animals, or cartoons, which we call ‘CHARACTERS’) are different from the
‘REAL WORLD’: the world you live in from day-to-day. Please refer back to this
page if you are unsure about the meaning of any question.

There are two parts to this questionnaire, PART A and PART B. PART A asks about
your thoughts and feelings once the displayed environment was over. PART B refers
to your thoughts and feelings while you were experiencing the displayed environment.
Please do not spend too much time on any one question. Your first response is usually
the best. For each question, choose the answer CLOSEST to your own.

Please remember that there are no right or wrong answers – we are simply interested in
YOUR thoughts and feelings about the displayed environment. Please do not discuss
the questionnaire with anyone who may also complete it as this may affect your
answers or theirs. We should be grateful if you would also complete the ‘Background
Information’ overleaf.

All of your responses will be treated confidentially.



Sense of Presence Inventory
Administration and Scoring Instructions

1. Administration

• Administer the questionnaire to non-expert participants immediately after they have
experienced the media display for which an experiential evaluation is required.
• Participants should not be made aware of the goal of the experiment(s) or that the
questionnaire is intended to measure presence.
• The questionnaire is to be filled in quickly, with immediate responses to the items in the
order they are presented.
• Background information regarding participants' previous use of media is potentially
important and should always be collected.
• As an approximate guide, the questionnaire should take 5-7 minutes to complete.



2. Scoring

• Each completed questionnaire will result in 4 factor scores (each generated by calculating
a mean of all completed items contributing to each factor) per media experience per
participant.

• The factors, and items contributing to them are:

• Spatial Presence

• Engagement

• Ecological Validity/ Naturalness

• Negative Effects

• Scores for each factor cannot currently be combined into one overall "media experience"
score - results for each factor should be analysed individually.

• Missing data must be taken into account in calculating the means - but should be
minimised through careful instruction in administering the questionnaire.

• When environments that do not contain characters are being evaluated with the ITCSOPI,
we recommend that item B23 be ignored when calculating the mean Spatial
Presence factor score - as B23 refers specifically to characters in the environment.




Sunday, November 7, 2010

Interactive Rotoscoping


Here is another idea for my interaction. It will be something interesting for the user, but before working with the final version I will make a video test. 

Rotoscoping - is an animation technique in which animators trace over live-action film movement, frame by frame. Originally, recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator. This projection equipment is called a rotoscope, although this device has been replaced by computers in recent years. In the visual effects industry, the term rotoscoping refers to the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.

The technique was invented by Max Fleischer, who used it in his series Out of the Inkwell starting around 1915.



Patent drawing for Fleischer's original rotoscope. The artist is drawing on a transparent easel, onto which the movie projector at the right is throwing an image of a single film frame.(wikipedia)


  • Below are links to tutorials. This is a very informational video, helping me understand the basic techniques and rules.  


  • A roto vector animation using Adobe Illustrator and After Effects...


 
  • An example of Kanye West - Heartless - rotoscoping music video...



Monday, October 11, 2010

Objectives of Honours Project


 Objectives as agreed with Alison Varley and Phil Turner

1.     Nature of the Project

The idea is to create an interactive movie presenting full-motion video of live-action footage.
The main tasks that will be completed to meet my objective are divided:

I.     Preparatory work
·     Analysis of interactive movies, technology and literature

II.     Development
·     Design the interaction
·     Develop pre-production plan. Components contributing to such an interactive movie may include:
1.     Storyboard
2.     Script
3.     Characters
4.     Visual Style/Techniques
5.     Use of foreground/background elements
6.     Use of Camera Angles
7.     Influence/References to other media
8.     Setting/Environments
9.     Notes
·     Produce the interaction movie 
1.     Recording scenes
2.     Editing scenes
3.     Adding Visual Effects

III.     Evaluation

IV.     Report including self-appraisal

During my studies I have learned a range of skills that I will demonstrate in my project, including use of several professional suits Adobe Flash and After Affects. Some of the modules, such as Digital Storytelling and Motion Graphics might be very helpful to produce my media piece. By now I should have realised that the work I can do draws upon a wide range of skills that include: animation, digital imaging, visual design, video production, use of text and visual effects.
The information sources that exist for my project idea are mainly:
·     Websites:
·     Literature:
Krasner, J. (2008) Motion Graphic Design: Applied History and Aesthetics. Focal Press
Adobe Creative Team (2008): Adobe After Effects CS4 and Adobe Flash CS4 Classroom in a Book. Adobe Press
Hand, M.(2008) Making Digital Cultures: Access, Interactivity, and Authenticity. Ashgate Press

2.     Interim Deliverable: Week 12 Report

The milestones are research and analyse of interactive movies, which will be useful to draw up pre-production plans, put the production into action by creating an interactive movie and evaluating the visual artefact. This will be related to preparatory work and draft of pre-production plan discussed in the previous section).

The interim deliverable may include:

·     Literature review (I. Preparatory work)

·     Draft of pre-production plan (II. Development) including: Characters, Storyboard, Script, Visual Style, Use of foreground/background elements, Use of Camera Angles, Setting/References to other media, Notes

·     Outputs from initial exploratory fieldwork with potential audience/users of my deliverables

3.     The Additional Deliverable

The additional deliverable will be an interactive movie:
·     A cross-platform CD or DVD containing:
·     A “Project” folder (interactive movie) containing the Adobe Flash/After Effects project file (.fla, aep.) and all of the assets used to create the interstitial.


 


Week 6 Planning


Week 6th so far and I'm still thinking about direction for my documentation, is this going to be Research or Production document? Before that I need take into consideration the audience of my video.

My interactive project will be aimed at the audience that enjoy neo-noir/film noir movies as well as people that like to watch and play with video games, such as:

  • people connected with Multimedia Industry 
  • people that spend a lots of time in the Internet
  • people that enjoy interaction, games, movies
  • students and researchers in media subjects

Tuesday, October 5, 2010

Two Strangers


One of my friend posted a link on Facebook with an example of black and white, slow motion movie called Nuit Blanche which explores a fleeting moment between two strangers, revealing their brief connection in a hyper real fantasy. Film is directed by Arev Manoukian. It is a great piece of work with very impressive visual effects (face in the glass made in 3D Maya). Worth it to watch even couple of times!




Monday, October 4, 2010

Film Noir


After setting down to read crime novels written by Vernon Sullivan and to watch Alphaville I have decided that I will go through more examples of Neo-noir films and literature, for instance:
    * Casablanca by Micheal Curtiz (1942)





    * The Postman Always Rings Twice, Double Indemnity by James M.Cain (1970) 


This kind of knowledge could be very essential for my story. Modern themes employed in neo-noir films include identity crises, subjectivity and technological problems and their social consequences.

On the other hand the classic period of film noir (the early 1940s and the late 1950s) had a amount of common themes, plot devices and characteristic visual elements, such as low-key lighting, outstanding camera placement and effective usage of light and shadow. Usually the main character was anti-hero, trapped in difficult situation often to make immoral choices