In this first brand new shiny episode of the Pixelesque vlog, we give a brief insight into the game that is LittleBigPlanet and basically show what it's all about. We felt we should do a general video because for people who don't know about the game it provides a basic idea as what it is etc. Keep checking back for more updates and Vlog's soon!
Hi again!
We now have a final idea! We decided that we are going to stick with our orignial choice of song "Movies" by Alien Ant Farm and are going to create a Machinima style music video with real life footage as well.
Our basic idea is that a character will enter a house through the front door and then a fast style montage similar to those used in Hot Fuzz and Shaun of the Dead will create a temporal ellipsis of him getting home, grabbing a drink etc and then sitting down infront of the sofa with his freind. It's at this point our main character and his freind realise that they are missing the television remote and cant change the channel away from the boring programme on the TV.
This is where the Machinima part of our film begins, our characters fall asleep and after a "dream style" transition they appear to take the form of "Sackboys" from the Playstation 3 game LittleBigPlanet. After a breif dialouge where they realise they must chase after the remote inside the game, there is a white flash and our heroes take the form of a certain movie, this is because the track we are using is Movies by Alien Ant Farm. Our characters will travel through various movie levels designed by us until they finally reach their end goal of finding the remote. When this does happen the remote is pointed at the viewer and the video ends.
At this time we have many ideas for the levels we want to desgin to represent all the different movies but we don't want to give them away just yet!
Thanks
Ethan
We now have a final idea! We decided that we are going to stick with our orignial choice of song "Movies" by Alien Ant Farm and are going to create a Machinima style music video with real life footage as well.
Our basic idea is that a character will enter a house through the front door and then a fast style montage similar to those used in Hot Fuzz and Shaun of the Dead will create a temporal ellipsis of him getting home, grabbing a drink etc and then sitting down infront of the sofa with his freind. It's at this point our main character and his freind realise that they are missing the television remote and cant change the channel away from the boring programme on the TV.
This is where the Machinima part of our film begins, our characters fall asleep and after a "dream style" transition they appear to take the form of "Sackboys" from the Playstation 3 game LittleBigPlanet. After a breif dialouge where they realise they must chase after the remote inside the game, there is a white flash and our heroes take the form of a certain movie, this is because the track we are using is Movies by Alien Ant Farm. Our characters will travel through various movie levels designed by us until they finally reach their end goal of finding the remote. When this does happen the remote is pointed at the viewer and the video ends.
At this time we have many ideas for the levels we want to desgin to represent all the different movies but we don't want to give them away just yet!
Thanks
Ethan
So over the summer we have been discussing numerous ideas over what we wanted to do and we finally settled on a music video. We then came up with a basic outline idea of a love story, this was elaborated to a underdog type of story where his love seemed out of reach. Along with this idea we had basic plot lines and locations etc but with more investigation we realized the logistics of actually filming our desired idea wasn't going to be practical.
So at this point we are re-assessing what exactly we want to do but we do have other ideas knocking about so I will update more when we decide something more concrete!
For the time being,
Ethan
So at this point we are re-assessing what exactly we want to do but we do have other ideas knocking about so I will update more when we decide something more concrete!
For the time being,
Ethan
Ethan Wroth
Gorillaz - Stylo
Gorillaz are a English band created by Blur’s Damon Albarn and British cartoonist Jamie Hewlett. There original creation of Gorillaz was fronted by a group of animated characters that used to present all aspects of then band albeit Music Videos or Live Performance. Since their third album “Plastic Beach” the animated characters still remain although Albarn and co have taken to the the stage to provide a new live performance element. In this analysis I will be looking at their 2010 single “Stylo” from their recent album “Plastic Beach”.
Stylo opens with a unique style of shot that could be described as a POV/Tracking shot hybrid, the shot shows us a view of a road and its apparent that some sort of vehicle is traveling down this road due to the diegetic sound of the car in the background. We can tell very quickly that this vehicle is speeding because we are showed zoom on shot of a police radio moving accompanied by a medium shot of the Policeman outside his car, this is followed by a zoomed shot of the police mans donuts on his front seat which is fairly stereotypical but also indicates the laziness of the police officer outside the car. As the police officer finally hears his radio the muscle car shown with "Stylo" on the front accelerates past the officer and leaves a trail of dust and the police officer struggling to get in his car in time.
It is at this point we are first introduced to the characters driving the "Stylo", in typical Gorillaz fashion the occupants of the car are there animated characters who for many years fronted their stage shows and music videos. "Murdoc" is driving the car accompanied by "2D" in the passengers seat and "Cyborg Noodle" in the back seat, as the characters are shown it becomes apparent that there is a gun-shot through the windshield which suggests they are being chased. As the car continues through the desert we see "2D" singing along to the song taking on Damian Albarn's voice. The mix of the CGI characters with the real time speeding car is an interesting and fairly surreal combination and they focus on this point by just showing shots of the car traveling with its occupants for around 30 seconds.
Once the police officer finally catches up with them "Cyborg Noodle" leans out and begins shooting towards him with a shotgun, this then suggests that the band members are fleeing the authorities. "Noodle" then shoots out one of the police officers lights causing him to swerve and crash through a billboard with a "Super-Fast Jellyfish" graphic which is a inter textual reference to the future single on their album Plastic Beach. The gang then continue as they were through the desert along the dusty road.
It's at this point we are introduced to a new character when a silhouette of someone smoking a cigar is shown, as the "Stylo" car passes this man he proceeds to chase them along the road although his car bears no resemblance to any law authority. We are then shown a shot through the windscreen of the unknown car to be shown it is Bruce Willis taking on the role of the vigilante, this is then followed by the introduction of a CGI storm above the two vehicles. As the the vehicles speed down the road we see Bruce Willis again in his car but this time acknowledging the audience by staring straight towards the camera in some sort of cameo role. As Willis catches up with "Stylo" his intentions become clear when he produces a revolver from his passengers seat, Murdoc then realizes this and a reaction shot is shown to emphasis is horror. Willis begins firing shots and shunting the opposing car obviously trying to end the pursuit, as Willis leans out and shoots at them he is shown laughing in an almost mad fashion.
We then cut to shot of the policeman with his wrecked cruiser as he crawls towards the remnants of his doughnuts, this is a use of parallel action. As he continues to crawl, a CGI character rises from the ground baring a striking resemblance to the Grim Reaper. The black creatures approaches him and smashes down into the ground appearing to make the policeman disappear.
When we re-join the pursuit the diegetic sound of the engines is slowly increased in a crescendo that emphasizes the pursuit is getting faster and more dangerous, the "Stylo" car then drives off a cliff and Willis manages to stop his car in time. Willis exits his car, revolver in hand and shows some kind of sick enjoyment that his prey have crashed into the ocean. At this point it seems it is all over as Willis returns to his car, but the last shot of the video is of the car transforming into a submarine meaning that despite earlier thoughts the Gorillaz characters have lived another day.
I feel this music video is very unique because it's mix of realistic CGI along with real life footage makes it a fairly surreal experience to watch. The cameo from Bruce Willis also adds to the appeal of the video because it draws more attention due the appearance of a A-List celebrity.
Gorillaz - Stylo
Gorillaz are a English band created by Blur’s Damon Albarn and British cartoonist Jamie Hewlett. There original creation of Gorillaz was fronted by a group of animated characters that used to present all aspects of then band albeit Music Videos or Live Performance. Since their third album “Plastic Beach” the animated characters still remain although Albarn and co have taken to the the stage to provide a new live performance element. In this analysis I will be looking at their 2010 single “Stylo” from their recent album “Plastic Beach”.
Stylo opens with a unique style of shot that could be described as a POV/Tracking shot hybrid, the shot shows us a view of a road and its apparent that some sort of vehicle is traveling down this road due to the diegetic sound of the car in the background. We can tell very quickly that this vehicle is speeding because we are showed zoom on shot of a police radio moving accompanied by a medium shot of the Policeman outside his car, this is followed by a zoomed shot of the police mans donuts on his front seat which is fairly stereotypical but also indicates the laziness of the police officer outside the car. As the police officer finally hears his radio the muscle car shown with "Stylo" on the front accelerates past the officer and leaves a trail of dust and the police officer struggling to get in his car in time.
It is at this point we are first introduced to the characters driving the "Stylo", in typical Gorillaz fashion the occupants of the car are there animated characters who for many years fronted their stage shows and music videos. "Murdoc" is driving the car accompanied by "2D" in the passengers seat and "Cyborg Noodle" in the back seat, as the characters are shown it becomes apparent that there is a gun-shot through the windshield which suggests they are being chased. As the car continues through the desert we see "2D" singing along to the song taking on Damian Albarn's voice. The mix of the CGI characters with the real time speeding car is an interesting and fairly surreal combination and they focus on this point by just showing shots of the car traveling with its occupants for around 30 seconds.
Once the police officer finally catches up with them "Cyborg Noodle" leans out and begins shooting towards him with a shotgun, this then suggests that the band members are fleeing the authorities. "Noodle" then shoots out one of the police officers lights causing him to swerve and crash through a billboard with a "Super-Fast Jellyfish" graphic which is a inter textual reference to the future single on their album Plastic Beach. The gang then continue as they were through the desert along the dusty road.
It's at this point we are introduced to a new character when a silhouette of someone smoking a cigar is shown, as the "Stylo" car passes this man he proceeds to chase them along the road although his car bears no resemblance to any law authority. We are then shown a shot through the windscreen of the unknown car to be shown it is Bruce Willis taking on the role of the vigilante, this is then followed by the introduction of a CGI storm above the two vehicles. As the the vehicles speed down the road we see Bruce Willis again in his car but this time acknowledging the audience by staring straight towards the camera in some sort of cameo role. As Willis catches up with "Stylo" his intentions become clear when he produces a revolver from his passengers seat, Murdoc then realizes this and a reaction shot is shown to emphasis is horror. Willis begins firing shots and shunting the opposing car obviously trying to end the pursuit, as Willis leans out and shoots at them he is shown laughing in an almost mad fashion.
We then cut to shot of the policeman with his wrecked cruiser as he crawls towards the remnants of his doughnuts, this is a use of parallel action. As he continues to crawl, a CGI character rises from the ground baring a striking resemblance to the Grim Reaper. The black creatures approaches him and smashes down into the ground appearing to make the policeman disappear.
When we re-join the pursuit the diegetic sound of the engines is slowly increased in a crescendo that emphasizes the pursuit is getting faster and more dangerous, the "Stylo" car then drives off a cliff and Willis manages to stop his car in time. Willis exits his car, revolver in hand and shows some kind of sick enjoyment that his prey have crashed into the ocean. At this point it seems it is all over as Willis returns to his car, but the last shot of the video is of the car transforming into a submarine meaning that despite earlier thoughts the Gorillaz characters have lived another day.
I feel this music video is very unique because it's mix of realistic CGI along with real life footage makes it a fairly surreal experience to watch. The cameo from Bruce Willis also adds to the appeal of the video because it draws more attention due the appearance of a A-List celebrity.
We're back after a whole summer of brief sunshine and a lot of rain! This year we begin the A2 part of the course and I am looking forward to what's in-store over the next year. This year me and Dan decided to move on from FlatlinePictures and form a new group with Oli Harkin formerly of Rattrap Productions to form a brand new super group Pixelesque!
As a group we now have many different ideas knocking about as to what we want to do so keep posted for all the developments along the way!
Thanks
Ethan
As a group we now have many different ideas knocking about as to what we want to do so keep posted for all the developments along the way!
Thanks
Ethan
Hermeneutic and Proairetic codes are two guidelines that every film needs to follow. Hermeneutic codes are something that is unexplained in a film, this is used to make the audience question what is happening and why, this is also known as a narrative enigma. Hermeneutic codes are most frequent at the beginning of a film because they can shape and outline the rest of the film, this is important because it makes the audience question the same thing over and over from the beginning of the film until they eventually find out. Proairetic codes are normally a plot action that holds no real significance, it normally acts as a middle ground between a previous event and a future event e.g. A man walking down the street. Although not as dramatically significant as Hermeneutic codes, Proairetic codes still have a job to do and can be important to the audience understanding whats happening in front of them.
To give a example of Hermeneutic and Proairetic codes I will be writing about the opening sequence to the 2009 British crime Film 'Dead Man Running', it was directed by Alex De Rakoff and produced by Rio Ferdinand and Ashley Cole.
The opening sequence of the film shows a character entering a Rolls Royce after getting of a flight, this is then followed by a establishing shot of Central London at night, as all of this is happening we see the credits are accompanied by translucent graphics of money watermarks that cover certain parts of the screen, this gives a suggestion that thew film is money based. As the Rolls Royce travels through Piccadilly Circus we see the character inside reading a copy of 'the Economist'. This can be considered a example of a Proairetic code, it doesn't really raise any questions but it shows information that allows the audience to start forming a opinion of this character.
The car pulls up by a club and the main character played by 50 Cent enters the club accompanied by his entourage, establishing shots of the club are used to show the wealth within it e.g. Champagne, cigars, strippers etc. 50 Cent then approaches a door guarded by two bouncers, this provides one of the first Hermeneutic codes because the audience questions as to who is inside due to the security outside. 50 enters the office and is greeted by another man. 50 then sits at the other mans desk connoting a sense of authority, when questioned how his flight was he doesn't reply, this is another Hermeneutic code because you want to know why 50 has flied to London, and also from his lack of response you feel he is not happy about the matter.
Just from looking at the opening two minutes of this film we are given one main plot device that is presented in the form of a Hermeneutic code and this is accompanied by a Proairetic code. This illustrates how important these codes are to a film because they really indicated and guide where the film is going.
To give a example of Hermeneutic and Proairetic codes I will be writing about the opening sequence to the 2009 British crime Film 'Dead Man Running', it was directed by Alex De Rakoff and produced by Rio Ferdinand and Ashley Cole.
The opening sequence of the film shows a character entering a Rolls Royce after getting of a flight, this is then followed by a establishing shot of Central London at night, as all of this is happening we see the credits are accompanied by translucent graphics of money watermarks that cover certain parts of the screen, this gives a suggestion that thew film is money based. As the Rolls Royce travels through Piccadilly Circus we see the character inside reading a copy of 'the Economist'. This can be considered a example of a Proairetic code, it doesn't really raise any questions but it shows information that allows the audience to start forming a opinion of this character.
The car pulls up by a club and the main character played by 50 Cent enters the club accompanied by his entourage, establishing shots of the club are used to show the wealth within it e.g. Champagne, cigars, strippers etc. 50 Cent then approaches a door guarded by two bouncers, this provides one of the first Hermeneutic codes because the audience questions as to who is inside due to the security outside. 50 enters the office and is greeted by another man. 50 then sits at the other mans desk connoting a sense of authority, when questioned how his flight was he doesn't reply, this is another Hermeneutic code because you want to know why 50 has flied to London, and also from his lack of response you feel he is not happy about the matter.
Just from looking at the opening two minutes of this film we are given one main plot device that is presented in the form of a Hermeneutic code and this is accompanied by a Proairetic code. This illustrates how important these codes are to a film because they really indicated and guide where the film is going.
So as much as I love doing this media blog I have been doing other things during Easter that have seemed to distract me from updating this amazing page, including football, work and various other things. Sadly this also included my Laptop breaking for a while and Old Windsor's internet going down for about four days due to some mug who cut all the wires to the village. So anyway below is a few pics that I took including the new PC that has replaced the broken laptop!
Anyway, back to the serious buisness of Flatline Pictures and our film!
We finished the editing of our film before Easter (not including sound) and uploaded it on YouTube;
So most of the video editing is done but we hope to get the video sound edited so we can take down the traffic sounds within the video. We also have someone working on a sountrack to accompany it which will hopefully be with us very soon. Once the sound is tweaked and the soundtrack added we have to add titles in LiveType and then we should be finished!
Anyway, hope this update was helpful even if a bit overdue.
Thanks!
Ethan
Anyway, back to the serious buisness of Flatline Pictures and our film!
We finished the editing of our film before Easter (not including sound) and uploaded it on YouTube;
So most of the video editing is done but we hope to get the video sound edited so we can take down the traffic sounds within the video. We also have someone working on a sountrack to accompany it which will hopefully be with us very soon. Once the sound is tweaked and the soundtrack added we have to add titles in LiveType and then we should be finished!
Anyway, hope this update was helpful even if a bit overdue.
Thanks!
Ethan