-> TIFFANY’S WEBFOLIO/ VIDEO
-> PROMOTE CNM KEN BURNS/ BEHIND THE SCENES VIDEO
-> KINETIC TYPOGRAPHY/ BEHIND THE SCENES VIDEO
-> SUPERHEROES / BEHIND THE SCENES VIDEO
-> FINAL PROJECT: PROMOTE NUS INTERACTIVE VIDEO / BEHIND THE SCENES VIDEO
-> FINAL PROJECT: PROMOTE CNM VIDEO / BEHIND THE SCENES VIDEO
Special Effects and Visual Effects are often integrated in a drama/ clip, so I just chose some of my favourite shows and caption the parts where special effects /visual effects are used…
There are simply too many!
eg. Ultraman (miniature monsters are used); Titanic (miniature ship is used to film the “wide angle” of the sinking of the ship); The matrix, Spiderman etc etc…
In here, there’s a mixture of Special Effects and Visual Effects
For this clip, it’s mainly special effects (filmed in 1999)
For this clip, it’s mainly visual effects (The super powers etc)
Hmmm, we don’t have to do this presentation but I’ll just post a few stuff that I thought was good or bad…
Please see the following clip (at the end of the document). Please evaluate the choice of song/lyric/conversation, typeface, layout,rapid rhythmic motions, changes of scale, rotation and so on. How does it convey emotive content? Please give examples. How does itcontrol the direction of attention? Which particular transitions/motions are good and why? Which are not so good and how could they be improved?
Here are some of the good ones
-> shape of a house, with the word Roof as the roof
-> The use of a T as a hammer to signify the hurting
-> animation of C and OSE coming in to represent Close…
-> animation of so much, to make it looking like talking or saying
-> to represent the meaning of the song, making the word I love you.
Not-so-good ones
-> red colour against orange background, and the black round border doesn’t really signify anything
-> font not really legible
-> animation of ME came in a bit slow, vibration did not match the tune
Some good ones…
-> the turning of the word “mind” to represent “change” your mind
-> Using the female pictogram is a interesting change, together with the use of pink colour
-> changing of the colour of the pictogram to represent changing of clothes (lyrics)
-> the animation of the word “over” from the top
-> Using the same type of font for the same pitch
->good use of typography to represent hot and cold
-> use of the green and red colours, and also the tick and crosses to represent Yes and No
-> animating the word “in” in the box
-> and the words “out” and “up” of the square
-> animating of the word “down” dropping on to the bottom of the screen..
Something New!
Here’s the download link to download the latest version of my group’s powerpoint. The hyperlinks would not work. Thus please refer to the youtube link provided in the notes area for the videos. 
Happy viewing!
http://www.4shared.com/file/sxCDO5As/UPLOADver_Kinetic_Typography.html
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1. What is Kinetic Typography and its history?
_Kinetic typography is a new form of communication that uses movement or other temporal change of text.
_The first known use of kinetic typography appeared in film – specifically, Saul Bass’ opening credit sequence for Hitchcock’s North by Northwest [Bass59] and later Psycho [Bass60].
Hitchcock’s North by Northwest [Bass59]
Psycho [Bass60]
Opening credit sequence for Catch Me If You Can
Purpose: to have the opening credits set the stage for the film by establishing a mood, rather than simply conveying the information of the credits.
_ Beside films, kinetic is also very heavily used in TV advertising where its ability to convey emotive content and direct the user’s attention, which is generally a good match to the goals of advertising.
2. Why Kinetic has not been widely exploited?
_Lack of tools directly supporting it
_The accompanying difficulty in creating dynamic text.
3. Why use Kinetic typography?
_Bringing some of the expressive power of film – such as its ability to convey emotion, portray compelling characters, and visually direct attention – to the strong communicative properties of text.
_Can be effective when conveying a speaker’s tone of voice, qualities of characters and affective (emotional) qualities of text
_Allow different kinds of engagement with the viewer than static text, and in some cases, explicitly direct or manipulate the attention of the viewer.
_Key areas in which kinetic typography has been particularly successful:
• Expression of affective (emotional) content,
• Creation of characters, and
• Capture or direction of attention.
_Rolling text makes reading faster because scanning eye movements are unnecessary (Rapid Serial Visual Presentation (RSVP). RSVP can be seen as a means for trading time for space, potentially allowing large bodies of text to be shown at readable sizes on small displays.
4. Examples of Kinetic typography
_ In Figure 1a, the choice of typeface, rapid rhythmic motions, changes of scale, and rotation, all combine to convey a sense of exuberance
_In Figure 1b, a very plain typeface has been chosen, and a combination of slow and decelerating pace, reduction of typeface weight, and a shrinking motion analogous to slumping of the shoulders, combines to convey a sense of disappointment
_In Figure 2, on the left shouting is expressed by large expanding, shaking, and vibrating text, which lingers and appears to reverberate. On the right a more diminutive tone is expressed by small size, slower pace, and clear adherence to the text baseline. We also see a clear change in tone of voice at a particular point in the piece, again accomplished by manipulating aspects such as size, pacing, maintenance of baseline, and fading.
_Figure 3 also illustrates the creation and interplay of distinct characters, this time created using identifiably different aspects of position, typeface, size, and color. Purpose: to transit the user’s attention from the ongoing dialog of the character at the left, to the entry of the character at the right.
5. Some techniques of using Kinetic typography
|
Kinetic type
|
Meaning |
|
|
Tone of voice |
_Large upward or downward motions can convey
|
_ Rising or falling pitch. |
| _Changing the size of text, as well as its weight, and occasionally contrast or color. Motions mimicking vibration can be used to depict high volume | _Loudness | |
| _Modifications to text width (i.e., spatial stretching to indicate a temporally stretched word) as well as scaling effects. | _Speed of delivery effects | |
| Analogous motion: uses movements reminiscent of human actions that convey emotional content |
_Small vibrations that are analogous to trembling |
_Convey affective content with high levels of arousal, such as anticipation, excitement, or anger. |
|
_Slow rhythmic motions reminiscent of calm breathing
|
_Appear to induce feelings of empathy. |
|
| Recognition techniques | _Consistent use of spatial location, movement patterns, typeface, type weight, and tone of voice techniques | _Used to distinguish characters |
| _Large sweeping movements
|
_Transitioning the user’s attention from one location to another
|
|
| Slow-in / slow-out movements: | a pacing of action in which movements start slowly, move rapidly in the middle, then end slowly.
|
|
| Movement in arcs: | movement of objects along curved paths rather than straight lines.
|
|
| Secondary action: | the motion of an object resulting indirectly from another action, such as hair or clothing being blown back during a rapid movement, or arms trailing behind a torso at the beginning of a movement.
|
|
| Squash and stretch: | a volume conserving compression or extension of an object suggestive of the acceleration (stretch) or deceleration (squash) of a non-rigid body.
|
|
| Anticipation: | a motion before the action proper, intended to set the stage and prepare the viewer for the action that is to about to take place – for example, an exaggerated leaning back before moving quickly forward. | |
| Follow through: | a motion indicating the termination of an action, typically carrying parts of an object somewhat beyond the termination point of the action such as arms swinging past a suddenly stopped torso. |
6. Limitations of Kinetic
_Cannot normally replace or override strong emotive content intrinsic to the meaning of the text.
_For example, it is not normally possible to use kinetic typography to make a sad story into a happy one. Instead, kinetic typography can reinforce or temper emotive content already present.
7. YouTube links:
Type: Promote NUS, MTV
Characters:
Boy
Girl
Business friend
Computing friend
FASS friend
Engineering friend
UCC male friend
Science friend
UCC female friend
Route:
_Girl: PGP -> Dentistry /Medicine -> Science -> University Hall -> SRC -> Yong Siew Toh -> UCC
_Boy: PGP -> Business -> Computing -> FASS -> SDE -> Engineering -> UCC
Where they start: a dot moving showing the way they run
1.
_ PGP hostel room: Day (Boy and Girl)
The girl and the boy wake up and come out of the room. -> Exchange balloons at main entrance, and both run in opposite route
2.
_ NUS Map showing 2 dots moving in opposite direction
3.
_ Mochtar Riady Building: Day (Boy)
Boy enters lift -> appear in business attire + blazer -> Catch 2nd balloon from 1st floor coming up from Business friend
4.
_ Dentistry or Medicine: Day (Girl)
Girl enters lift or LT -> change into lab coat and appear with 2nd balloon -> skip pass Science, Science friend pass a pair of goggles to her and 3rd balloon to girl
5.
_ NUS Map showing 2 dots continue moving
6.
_ School of Computing: Day (Boy)
Boy pass by SOC logo -> go in a com lab & close door -> appear in thick windbreaker, jeans and laptop -> (Pull out 3rd balloon from screen?) if not, Computing friend passes the balloon)
7.
_ University Hall: Day (Girl)
Girl runs pass university hall.
8.
_ SRC: Day (Girl)
Girl enters dance studio and emerge in sports attire. Rock climbing to get the 4th balloon?
9.
_ NUS Map showing 2 dots continue moving
10.
_ Central Forum: Day (Boy)
Boy run pass central forum, remove jacket and reveal FASS T-shirt -> FASS friend passes 4th balloon to him -> crosses road to SDE
11.
_ School of Design and Environment: Day (Boy)
Boy exits SDE in carrying paper scrolls in formal attire (without blazer) with 5th balloon.
12.
_ Yong Siew Toh Conservatory of Music: Day (Girl)
Girl enters Yong Siew Toh and emerges in a dress with violin/cello/guitar, with the 5th balloon.
13.
_ NUS Map showing 2 dots continue moving
14.
_ Engineering Block: Day (Boy)
Engineering friend puts the helmet on boy’s head, take away paper and passes 6th balloon to boy.
15.
_ UCC: Day (Girl)
Girl hands over the musical instrument to UCC female friend.
Total of 5 balloons on hand.
16.
_ UCC: Day (Boy)
UCC male friend remove boy’s helmet and pass a heart-shaped balloon.
Total of 6 balloons + 1 heart-shaped balloon on hand.
17.
_UCC: Day (Boy and Girl)
Both run in and out of the I WAS HERE block and appear in couple T shirts. Girl hugs boy and let go of the balloon
Camera ANGLE up to soaring balloons.
II. Write the script for your assignment II (Ken Burns).
I’m not sure if I want any narration for my Ken Burns video, but if there is, this will be the script for it.
1. Opening
“Fun” and “Career” (APPEAR)
Can “Fun” = “Career” ? (APPEAR)
FAD TO WHITE. IMAGE A CROSSFADE IN.
“Relations” (APPEAR)
IMAGE A ZOOM OUT
Advocator of “Relations”
PR Practitioner (APPEAR)
IMAGE A PANS DOWN
Buzz (APPEAR)
IMAGE A ZOOM OUT
Composer of “Buzz”
Journalist (APPEAR)
2.
ZOOM OUT AND PAN LEFT
IMAGE B CUT
Media Trends & Statistics (APPEAR)
3.
IMAGE C CUT
IMAGE D CUT
Investigator of “Media Trends & Statistics”
Researcher (APPEAR)
4.
IMAGE E CUT. ZOOM IN.
Beauty (APPEAR)
5.
IMAGE F CUT AND ZOOM OUT.
Captor of “Beauty”
Photographer (APPEAR)
IMAGE F EXTREME ZOOM.
IMAGE G ZOOM OUT
Fun (APPEAR)
IMAGE G ZOOM OUT.
Creator or “Fun”
Game Designer (APPEAR)
6.
IMAGE G PANS TO IMAGE F TO IMAGE E TO IMAGE D TO IMAGE C TO IMAGE B TO IMAGE A. = IMAGE H
Creativity
7.
IMAGE H ZOOM OUT.
(Wo)man behind the “Creativity”
Videographer/ Video Editor (APPEAR)
8.
FADE TO WHITE
Communications and New Media
where work = fun in real life. (APPEAR)
(Narrates: Communications and New Media
where work equals to fun in real life. )
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III. What are the differences between scripts before production and scripts which are ready for production (if any)?
Sample script: not intended for production, but to showcase the screenwriting skills of the author, in hopes of attracting the attention of an agent or producer. Often a spec script which fails to sell goes on to be a sample script.
Spec script: aka (speculative screenplay) is a screenplay for a movie that is shopped or sold on the open market, as opposed to one commissioned by a studio or production company. It is written without being commissioned on the speculative hope that it will be sold.
* for easier reading, often avoiding camera angles, editing directions, and technical intrusions
* by writers who hope to have a script optioned and eventually purchased by producers or studios;
* by writer/directors who want to direct a film themselves;
* by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.
Script: The blueprint or roadmap that outlines a movie story through visual descriptions, actions of characters and their dialogue.
Manuscript: a script before it has been published.
Master Scene Script: A script formatted without scene numbering (the usual format for a spec screenplay).
Shooting Script: A script that has been prepared to be put into production (used in production of motion picture). They make use of scene numbers (along with certain other formatting conventions described below), and they follow a well defined set of procedures specifying how script revisions should be implemented and circulated.
Production Script: A script in which no more major changes or rewrites is anticipated to occur, which is used day by day for filming on a movie set.
I did a simple mindmap of the difference made to a script at different stages of the production. Hopefully this will be clear enough…
I. Find 2 scripts of well-known films. Select minimum 5 pages (each) of the two scripts you selected and analyze them by answering the following questions: Which are the characters /roles in this script? Point out the voice over. Point out the camera movement Point out the transition How does it present place and time?
Film 2: Catch Me if You Can (2002)
Scene used 17-23 (See video clip)/ download pdf from the link below to see view the selected scenes.
http://www.4shared.com/document/HYA4KiPb/Catch_Me_If_You_can_script_ana.html
Which are the characters /roles in this script? (names in red)
Frank/ Mr. Abagnale – main character, fake relief teacher
Ms Glasser – teacher on medical leave
Girl – student in class
Teacher – Real relief teacher
Principal Evans – Principal of the school
Frank Senior – Frank’s Father
Paula, Mrs Abagnale – Frank’s mother
School Administrator
Joanna – New friend
Jack Wright – Paula’s affair, Frank Snr’s friend
Point out the voice over (highlighted in yellow): NIL
==============================================================================
Point out the camera movement (highlighted in magenta): NIL
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Point out the transition, How does it present place and time? (highlighted in cyan): Day and location were written at the start of every changed scene.
Scripting
I. Find 2 scripts of well-known films. Select minimum 5 pages (each) of the two scripts you selected and analyze them by answering the following questions: Which are the characters /roles in this script? Point out the voice over. Point out the camera movement Point out the transition How does it present place and time?
Film 1: 17 Again (2007)
Scene used 37-43 (See video clip) / download pdf from the link below to see view the selected scenes.
http://www.4shared.com/document/v9XFBAtF/17_Again_Script_Analysis.html
Which are the characters /roles in this script? (names in red)
Mike/ Mark – main character
Alex – Mike’s son in real life
Samantha, Lauren, Jamie – the trio
Nicole – Alex’s crush
Stan – Maggie’s boyfriend
Maggie – Mike’s daughter
Miss Goodwin – School’s principal
Mrs Mencer – School counsellor
Scarlet – Mike’s wife, Alex and Maggie’s mother
Point out the voice over (highlighted in yellow): Written as (o.s)
==============================================================================
Point out the camera movement (highlighted in magenta): ANGLE
=============================================================================
Point out the transition, How does it present place and time? (highlighted in cyan): Day and location were written at the start of every changed scene.
Spotting different filming techniques: SALT
Refer to the caption at the bottom of the clip.
I find this trailer clip uses many of the techniques mentioned in the presentation questions, thus I decided to make an attempt to try spotting the different techniques. Labelled the techniques and transitions used in the trailer, some parts are really very short, since it’s an action-packed movie, so you may have to pay attention to catch it!
(P.S. Not that I have a lot of time on hand, just that I’m super interested in filming stuff, and it’s partly to make up for my late completion for my first presentation, so hopefully I can get back the points for the extra hard work I’ve put in!!! Muahaha~ Spent 3 days working on this 4 blog entries, but enjoyed myself!!!)
I’m still not quite sure of the differences between wide-angle and telephoto. So pardon me if I spot wrongly!
This trailer uses a lot of fade-to-black transition, and with the sound effects, it created a lot of suspense and mystery around the movie, attracting people to watch the movie.
The use of very fast panning and zoom to close-up also dramatise and enhance the personalities of each character in the movie.
