Animatic

Notes:

0.14 - 808 synthesiser used to create acid house sounds. This is a leitmotif for entry of the protagonist.

0.30 - Foley used to compliment the underground scene. Dripping noise applied

1.30 - low pitched bass synth applied to announce anthropomorphic characters. Pig like noise.

1.02 - Swooping sounds accent synaesthesia. Needs to be tightened up to improve timing. Can be done in TV Paint for the final animation using the lip sync tool.

The overall quality and timing will be refined. As a research method in the coming trimester me and Heath will be communicating to ensure the multimodal fusion.

Next Steps

After a long time establishing what works for the film and what doesn't, I feel ready to go ahead with Production. Elements are likely to change to further understanding of the narrative. As a non-verbal film, I believe powerful imagery will need to be added to make some of the political/audiovisual attributes explicit. Much of the visuals could be altered but the storyline is strong and the Pitch Bible communicates the themes, characters and story well.

Over the next few weeks, I will be translating the conceptual work of the storyboards and characters into a more finished look. Through this and the research I have undergone since writing the treatment, I hope to capture the gritty, Modernist, Dystopian themes within the details of the landscape, and the actions/dynamics of characters. The Ethical/sustainable themes I have more recently discussed should tie in with this, influencing how I go about creating the world.

I will be researching more into sound and image accompaniment. As this is the subject matter for my upcoming essay/project, the film, alongside further research into multimodality will hopefully provide insight into my chosen field of enquiry. This will be mutually beneficial within all my modules as I will demonstrate visually pleasing examples of audiovisual techniques within film, while contributing to my practice as research for the upcoming project.

Working more on the soundtrack is also of vital importance. By working with my music production collaborator. I hope to take note of our process compared with other filmmaking techniques. As we add more richness to the music and visuals, I am sure that interesting observations will follow. The sound is really going to add great dimension to the film.

Working on my technical skills will also be required. I hope to learn more about texturing my animations and finding more visual aesthetic in my film than just line drawing and shading. Experimentations into textures and different animation styles will follow alongside studies into lighting and colour. I want to make as professional a film as possible.

To aid me in the production, I have created the production schedule. By categorising different activities, I hope to simplify the production pipeline and make a more studio-like streamlined nature to the production process.

Creating the Pitch Bible Document

 Refining my blog posts into a concise, professional document was good practice for inDesign skills and layout of ideas. Starting with a rough table of contents, I was able to refine the flow of the document and make sure it is easily navigable and eye catching for hypothetical studios. 

- dividing page into 3's helped with layout of photos and text

- creating concise bodies of text to make the story appealing helped in my realisation of important themes (which ones to highlight and put in the background) - For example, it was extremely important to involve Michel Chion. Despite not being a research document, audiovisual techniques are fundamental to the look and themes of the film. Mentioning Utopia and Dystopia was also important for the theme/genre of the film. On the other hand, the themes of Government misconduct are not directly discussed in the pitch, but hopefully noticeable through the storyline and ethics sections.

- General eye catching nature had to be thought of. Initially the storyline was only demonstrated through a 2 page treatment. I was advised to include a short synopsis before this. As a result, people can hopefully spot themes which are of interest quicker and maintain their attention and interest.

- Accompanying imagery for each section was important to select. I made sure all sources were Harvard Referenced after initially realising that there were a few un-cited items in the document. I tried to ensure that each image had a purpose and served to widen knowledge and visually represent the film

- Small details such as readability of font and colour, and consistent branding techniques were also considered. As we learn more about colour theory in the coming trimester, the pallet may change. They will be similar warm and cold tones, but may become more complimentary.

-Initially, the character turnarounds didn't feature any information on the individuals. I have rectified this by simply adding bullet pointed key words. From these, the characters and their intentions should be realised.

-The ethics and sustainability section was initially something I was at first considering in the background of the storytelling. However, upon thinking about it more, I am considering more ways of incorporating the themes I mention. Involving inclusivity in the societal and musical aspects of life is of extreme importance when making a commentary on the arts scene of this generation. Sustainability-wise, the more I read about the state suppressing the arts, the more I am seeing it's influence (contrary to the stock the Government puts into it) to create goals of sustainability. Creative approaches should have ample responsibility in promoting sustainable messages, both by boosting sustainable imagery and highlighting the insufficient actions taken by Governments and individuals. As I read and digest more information on this topic, I'm hoping it feeds into altering the narrative and imagery of the film.

Ethics & Sustainability Considerations

In the initial research for this project, I touched on ways to make my practice more sustainable/ethical. Depicting issues within our society such as class divides, housing and pollution, suppression of arts and culture and general misconduct of the Government. Ethically I thought of inclusivity and made sure the ethnicities and genders of characters in the film were diverse. 

As the project moves to more sure footing, I am re-addressing the issues I'd like to tackle. Further to letting sustainability and ethics tie into the look for the film, there could be ways in which it could drive my research and have messages which speak to all people. 

Approaching the pushing and pulling of Government and art would be interesting to tackle within the film. In the Guardian, I have read about a principle which speaks of the Government not medalling with the arts and the political importance of artists being able to speak against unfair constitutions:

the arm’s length principle is what it says it is: a principle, one that embeds the notion that a sign of a functioning society is the independence of its artists to create work that pushes against prevailing political tides. On a deeper level, it acknowledges that artists can – should – act as a nation’s conscience, expressing truths that may be unpalatable or otherwise inexpressible.

Higgins, C., 2021. An atmosphere of threat lingers over the arts - and it’s created by the government | Charlotte Higgins. [online] the Guardian. Available at: <https://www.theguardian.com/commentisfree/2021/dec/06/threat-arts-government-society-political-tides?fbclid=IwAR1ImLqhxf6dohsB7_10KaCiE1n73UGLX75kJxqTtJkwexJHB2-10c6PAAs> [Accessed 15 December 2021].

Conflict between arts and Government was already a topic which was in the background of making this film. Creating more imagery to represent this conflict would create meaning which resonates and make the piece an artistic commentary on Government misconduct in itself. Although the storyboards have been created, I believe small details such as propaganda posters in backgrounds and general conflict between creativity and political manifestos onscreen could create this impression. Therefore within production, the least I will do is incorporate these easter eggs into the screenplay.

A one-time chair of Cema, Keynes was also the founding chair of the Arts Council. Because of, rather than despite, his life’s work in economics, he was utterly uninterested in the economic impact of the arts. Their role, rather, was one of “enlarging our sensibility”. The Arts Council, he wrote, was to be a “permanent body, independent in constitution, free from red tape, but financed by the Treasury”.

Higgins, C., 2021. An atmosphere of threat lingers over the arts - and it’s created by the government | Charlotte Higgins. [online] the Guardian. Available at: <https://www.theguardian.com/commentisfree/2021/dec/06/threat-arts-government-society-political-tides?fbclid=IwAR1ImLqhxf6dohsB7_10KaCiE1n73UGLX75kJxqTtJkwexJHB2-10c6PAAs> [Accessed 15 December 2021].

This 'arms length' ideal could be represented by more medalling on the Governments behalf into the repressed artistic community.

I have started looking into movements which see Arts as a means of driving a less daunting future for our planet. As more people are realising that they have a responsibility to be greener, there are countless efforts within the Arts that educate people about environmental issues and how to make a difference. 

One such example is Julies Bicycle, they talk about Climate Justice, encompassing all attributes of our lives from the politics that drive our future to everyday human interaction. They host many talks on creative approaches to taking action on climate change. Continuing to read sources like these will help me find my stance in how I can use film making to promote positive messages.

As multimodality is of key interest to me, my research into sustainability may start steering toward the idea of music and art creating sustainability. As we all know imagery can be extremely influential. Finding ways in which thinking in an audiovisual way can be productive for society could be extremely interesting. Our cognitive ability for music and visuals to influence us is indisputable, which could be incorporated in my film in emotive and powerful ways if researched properly.

Animatic & sound design

As the project puts a lot of emphasis on audiovisual blending, communicating well with Heath (music production) has extremely important. Thus far we have been translating each other's visual/audio styles. Giving Heath the animatic helped to roughly realise how to approach making this piece of music in a way which will draw out multimodality when watching/listening. It's a rewarding process as we started by establishing the melancholy atmosphere of the beginning of the film. Heath has commented that the knowledge of how the film will look has greatly assisted his creative process.

Since our initial animatic and soundtrack, we have experimented with a few aspects of the sound. Having our initial soundscape, we then sought out to characterise moments where sounds are visible with a kind of electronic foley. 

By roughly demonstrating where sounds are visible, Heath has the freedom to match them in his audio track in a rhythmic way. Then when it comes back to animating, I can ensure that the sounds are met with appropriate visuals which work within the rhythm of the tune.

I have also looked at leitmotifs in film. As with the two chords which announce the arrival of an enormous shark, certain characters in my film will trigger particular sounds to build association between senses while watching the film. The protagonist and side heroes will certainly feature musical riffs of electronic nature, adding a zest to their arrivals onscreen. Contrarily antagonists will be matched by dark chords. This will all be established in more detail during production, but the animatic will provide a taste as to how different characters are received. 

For aspects like precise timing, mood of the film and different settings, being in close communication has immensely helped. In studio practice for a music video, this method of the animations and music going back and forth is not the most conventional way of creating this media. Usually the filmmaker would be given the song and be instructed to create the visuals over it. For film, it works in reverse. one element essentially takes precedent over the other. My hopes with going back and forth and informing each other's practice with what we are creating is to create a video with more consideration to multimodality than others. However, I should look more into the production of soundtrack and music videos. Finding practitioners who blend sound and visuals through a symbiotic approach may have some key insights into blending audio-vision effectively.

Pre Production Schedule

 In line with contemporary Animation practice, I have made a Gantt chart mapping out all the processes from initial research to Animatic and Pitch Bible. As it has neared completion and undergone editing I am posting it now. Its duration is from September 20 to the submission on December 17.

I have also made a list of production tasks moving forward. Going scene by scene, character animations, backgrounds and methods of animating have been realised and colour coded into different categories in order to move forward with this ambitious project in the most effective way. I have not yet realised timings but over the Christmas break, the production will begin. 

Synesthesia Background

 

E. Cytowic, R., 2021. What color is Tuesday? Exploring synesthesia - Richard E. Cytowic. [online] TED-Ed. Available at: <https://ed.ted.com/lessons/what-color-is-tuesday-exploring-synesthesia-richard-e-cytowic> [Accessed 8 December 2021].

Synesthesia is a neurological phenomenon which has always interested me although my understanding of the science and sensation of it are limited. This TED video explains some of the science behind and aptly demonstrates how much interplay the senses can have with synesthesia. This is a topic I may well study further for my essay project. For the film, which has multimodality at it's core, incorporating this neurology will inform visuals in my film, and very possibly my material thinking and research.

Looking into how I can make the visuals look realistic would be an informative and enjoyable subject to look into. As more of the animation styles come into play with production processes, finding cases and sample animations of synesthesia would help with this. Then I will blend multimodality with accurate representations of seeing sounds. This would be effective to my research because it would use real cognitive phenomena involving mixing of the senses.

Jimmy Cauty Inspiration

Jimmy Cauty Dioramas

Jamescauty.com. 2021. The Aftermath Dislocation Principle. [online] Available at: <https://jamescauty.com/work/the-aftermath-dislocation-principle/> [Accessed 8 December 2021].

I have only been made aware of Cauty's work recently in one of my recent talks with Mat. These riotous, dystopian cityscapes are however a huge inspiration and a visual style which I want to incorporate into my work. I had previously cut my intersectional shots of police out of the film but the stand out colours and visuals of this work makes me want to reincorporate more police visuals and graffiti. I love how in his work the stark concrete colour of the miniature buildings contrast with the high vis green, I also love the 3D tangible nature of the piece. Where I was contemplating how to get accurate perspective, whether with Maya or with 3D models, I have decided to incorporate my love for model making to create blocks of flats. These will be useful as reference on my wide angle shots of buildings. By building them out of foam board and taking reference photographs, mapping the changing perspectives and general landscapes will give the film a more realistic look.

 

Essay Notes & Quotes - Barrett & Bolt

 INTEREST: THE ETHICS OF INVENTION

The condition of invention—the state of being that allows a state of becoming to emerge—is a perception, or recognition, of the ambiguity of appearances. Invention begins when what signifies exceeds its signification - p15

This is evident in the phrase “an ethics of invention”, which does not mean the science that differentiates “good” inventions from “bad” ones, but refers to the custom or habit of invention. To understand the social value of what we are doing, we need to study the process of creativity, rather than its outcomes. The word interest does not refer to an outcome established as operationally efficient or conventionally true, but to a relationship. 'Interesse' means to be between. Interest produces the desire to go beyond oneself - p17

The ethics of invention reside not in the truth of what is found but in the interest of what is done - p17

Must question WHY the research is important and what kind of truths it guide society towards

assert the value of invention— which, I maintain, as the distinct focus of creative research, is located neither after nor before the process of making but in the performance itself - p19

Revised Treatment

 Night in a Dystopian Britain. The camera pans across a city littered with tall buildings. All is quiet except the eery sound of sirens echoing through the streets.

Pavements have no signs of life at this time of night, propaganda and curfew warning signs are the only placards decorating the plain walls of this city. All signs of art and creativity are diminished in this world. Between each street lamp is a Government issue tannoy. They patiently wait for the next commands to issue out of them. 

At a block of flats, much like the others dispersed all over the city. The Protagonist watches through the french blinds at his window for signs of police. He isn't aloud to leave the confines of his flat. Regardless, he deems the coast clear and steps outside to catch some air. On the balcony he pulls out a cigarette and begins to smoke. 

Deep beneath our Protagonists feet, down the sewers and through the winding, labyrinthine passages of the underground, something is stirring. Two characters walk through a dimly lit passageway. Set into the walls of the tunnel, speakers and sound equipment are partially visible. The characters are walking with a great purpose, as if a plan they have hatched is coming into fruition...

They arrive at a booth. Two turntables and a mixer sit waiting for the two Pirate DJ's. DJ 1 stoops down to pick up a record. He places it on the turntable. With the press of a button, the turntable begins to spin. Small grooves on the side of the disk move animatedly at different speeds. Sound begins to grow as DJ 2 pushes a volume slider up slowly. With it, the first colours start appearing on the mixer, mirroring the levels of the music which begins to build.

The Government tannoys begin emitting a sound. In this world, sound induces a kind of synesthesia, generating colours which pulsate to the sound of music. None of the characters have heard music in a very long time, hence the world has been grey.

Alarmed and confused, the Protagonist watches as the tannoys build in sound and vibrancy of colour. His previously grey attire, is lighting up. He ducks in his confusion, feeling worried and exposed outside in the presence of this sound. 

All over the city, windows begin to light up and glow. Radios begin emitting the sound and, in the dead of night, people begin to notice. All over, people are listening on their radios and televisions, which are all broadcasting the sound, alongside a mysterious waveform. 

Meeting begin in the wide corridors and busy rooms of the Government establishment. The officials have all congregated, a large projector demonstrates their radio interception through the waveform. These antagonists are infuriated. A spectacled politician sits in the corner, brooding. He turns to face a law enforcement officer. After a brief dialogue, the Officer speaks into his walkie-talkie, communicating with Officers all over the city. They are dispatched to settle the growing excitement in the city.

The protagonist has now taken to the streets, awe struck by the sounds he has never heard before, which are seeping through every tannoy. A lightbulb flickers in the distance and in the background, as the Protagonist walks off, two silhouettes appear against a brick wall. Suddenly the Protagonist is pinned to a wall by an Officer. Simultaneously, the Officer's partner ushers for his attention. Turning to look, they see commotion through a crack in the buildings.

Revelry is in the air. Through this crack colours are glowing and shapes shift past. In the Officers momentary lapse in concentration, the Protagonist breaks free of their grip, pushes past them and runs headlong into the bustling crowd. 

The music has incited a kind of protest party. Colours never seen before are bursting from the vibrant array of characters who parade down the street. Festive behaviour in the dead of night has not been seen in a very long time. The Government can only watch on in fury as hoards of people, too many to be controlled, progress. All unified. All heading in the same direction.

The congregation proceeds through a dilapidated fence and down a tunnel. The Protagonist runs through the throngs of people. The tunnel illuminates artwork on the walls, followed swiftly by speakers and wires resembling that of the Pirate DJ booth. He is close.

He sees a shape stooped down by some of the equipment and skids to a halt. The mysterious lighting/synth characters have their back turned to the Protagonist, immersed in twiddling the various knobs and dials set into the wall. Each action they perform triggers sounds and lights to burst out. As he draws nearer to get a closer look. One of the mysterious characters looks over their shoulder to reveal a masked face. A button in pressed and a strobe begins. Alarmed, the Protagonist looks on with a look of awe. Zesty characters appear out of the darkness and disappear as quickly as they manifested. In the strobed spectacle of confusion. The DJ's can be seen. The music has climaxed and a large crowd is visible behind them.

(END CREDITS)

The sun rises over a colourful city. Blocks are decorated with art, the sky is beautiful. It is as if the city has taken a breath of fresh air and a new dawn has begun.........

Notes:

A new draft which fits with the storyboards and has animating more in mind. Was good to make another draft as I could drop ideas which are less relevant now, and is informed more by the research as the process has moved forwards.

Storyboard Close up drawings

 

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