Thursday, 20 October 2011
Wednesday, 19 October 2011
Adjusting your images for LRRH
If you can't see your scans properly when you've uploaded them, if you open them on the MAC using PREVIEW (which should be the default programme), then you can adjust the settings so they are clear.
With the image open in preview, choose TOOLS and then ADJUST COLOURS - move the sliders around until the image is really clear and then save. This will change your image. You can then upload them (again) onto blogger and they will be viewable :)
With the image open in preview, choose TOOLS and then ADJUST COLOURS - move the sliders around until the image is really clear and then save. This will change your image. You can then upload them (again) onto blogger and they will be viewable :)
Tuesday, 11 October 2011
LRRH Instructions
1. Scan and upload your 30 (ish) length storyboard. Discuss how it is disjunctive (refer page 14 in your packs) and how this reflects Goodwin.
2. Having had roughly half the frames removed at random, reflect on how what you now have is not just disjunctive but also a fragmented narrative. What would you fill the gaps with? Explore/Explain how this meets with the conventions of music videos generally (as generic conventions) and perhaps you might mention that not all MVs follow this pattern _ some are all narrative and some all performance. You might give some examples and even link some!
3. Choose (or get someone else to choose) about 4 frames of your shorter version. Storyboard these in more focus so you can see exactly how many shots you are actually going to need to shoot if this were a real video - this will help you to see how much footage you will need when it comes to your coursework - you should find that your initial 4 shots becomes very many more. REMEMBER to focus on using all the techniques we explored when discussing Vernallis - that is use of frames, space, camera movement etc - revise or prepare for this by going back and seeing what we highlighted in class and looking at the notes in the pack. Finally reflect on what you have learnt from this process and perhaps come up with some ideas as to how you will use your learning in your work.
REMEMBER to label your posts effectively - you can use MORE THAN ONE - think of using words like - disjunctive, fragmented narrative, vernallis, reflection etc etc
2. Having had roughly half the frames removed at random, reflect on how what you now have is not just disjunctive but also a fragmented narrative. What would you fill the gaps with? Explore/Explain how this meets with the conventions of music videos generally (as generic conventions) and perhaps you might mention that not all MVs follow this pattern _ some are all narrative and some all performance. You might give some examples and even link some!
3. Choose (or get someone else to choose) about 4 frames of your shorter version. Storyboard these in more focus so you can see exactly how many shots you are actually going to need to shoot if this were a real video - this will help you to see how much footage you will need when it comes to your coursework - you should find that your initial 4 shots becomes very many more. REMEMBER to focus on using all the techniques we explored when discussing Vernallis - that is use of frames, space, camera movement etc - revise or prepare for this by going back and seeing what we highlighted in class and looking at the notes in the pack. Finally reflect on what you have learnt from this process and perhaps come up with some ideas as to how you will use your learning in your work.
REMEMBER to label your posts effectively - you can use MORE THAN ONE - think of using words like - disjunctive, fragmented narrative, vernallis, reflection etc etc
Thursday, 29 September 2011
Synaesthesia & Grain of Voice
Hi all and welcome to your new BLOG for year 13!
After all the frantic few lessons, presenting your music video analyses, we've just covered SYNAESTHESIA. You can check this on the web but it's also in your packs on pages 13 and 14.
We've focused on how music is made up of differing elements which stem from the various musical instruments and moved on to see how they're used to create a variety of 'shapes' (like Motifs) in the music. These can be used, once you've learnt to identify them, to trigger the creative process in MV storyboarding and planning in TWO main ways:
Each shape can be used to:
1. Trigger an edit point or series of editing points
2. Be used as a guide to how (in terms of direction) you could move the camera. This movement can be in a continual sweep, for example, or in a continual sweep with cuts within the continually progressing movement - so the movement works as one, but there may be scene changes or edits within that movement.
We have also talked about GRAIN OF VOICE which is from BARTHES and Goodwin referred to him when talking about how artists have a particular 'fingerprint' to their voice. Identifying this and believing in the uniqueness of your artist should help you to create a MV that identifies and exaggerates this - amplifying the STAR IMAGE.
After all the frantic few lessons, presenting your music video analyses, we've just covered SYNAESTHESIA. You can check this on the web but it's also in your packs on pages 13 and 14.
We've focused on how music is made up of differing elements which stem from the various musical instruments and moved on to see how they're used to create a variety of 'shapes' (like Motifs) in the music. These can be used, once you've learnt to identify them, to trigger the creative process in MV storyboarding and planning in TWO main ways:
Each shape can be used to:
1. Trigger an edit point or series of editing points
2. Be used as a guide to how (in terms of direction) you could move the camera. This movement can be in a continual sweep, for example, or in a continual sweep with cuts within the continually progressing movement - so the movement works as one, but there may be scene changes or edits within that movement.
We have also talked about GRAIN OF VOICE which is from BARTHES and Goodwin referred to him when talking about how artists have a particular 'fingerprint' to their voice. Identifying this and believing in the uniqueness of your artist should help you to create a MV that identifies and exaggerates this - amplifying the STAR IMAGE.
Work for Year 13 from Mr Philip
STAR IMAGE IN MUSIC VIDEO
Read page 29-31.
How a star’s image develops over time through music video
"a star is an image constructed from a range of materials" (Richard Dyer)
These materials include
the songs (their lyrical themes and musical structures/genres),
the record covers (singles and albums and the image of the star they present),
media coverage (from interviews about career and private life through to tabloid gossip),
live performance (the image through the stage show)
the music videos, which may draw upon the image presented in each of the other aspects
In groups prepare notes for a power point presentation on a star you want to analyse whose image has changed over time eg Madonna, Lady Gaga. Read page 31 worksheet as a guide to your notetaking. You will present this next lesson.
Read page 29-31.
How a star’s image develops over time through music video
"a star is an image constructed from a range of materials" (Richard Dyer)
These materials include
the record covers (singles and albums and the image of the star they present),
media coverage (from interviews about career and private life through to tabloid gossip),
live performance (the image through the stage show)
the music videos, which may draw upon the image presented in each of the other aspects
In groups prepare notes for a power point presentation on a star you want to analyse whose image has changed over time eg Madonna, Lady Gaga. Read page 31 worksheet as a guide to your notetaking. You will present this next lesson.
Subscribe to:
Posts (Atom)