Hugo's documentation blog

A.Concept & Story

 

 Visual Metaphor Proposal

1. Project Title: View from an Outsider (tentative)
2. Team Members: Yasmin Pang, Hugo Wang

  3.  Concept | Storyline: 

  1). What is the piece (article, poem, story) for the narrative voice over?  Or who are you going to interview?  

Potentials:

https://www.youtube.com/watch?v=Hj6eIe5r-bo

https://www.youtube.com/watch?v=Xl4QBaQSkZY

https://www.youtube.com/watch?v=xxV6s4oM1hg

https://www.youtube.com/watch?v=0pkSIOatDEs

   2). What’s the story about?  

  The story is about a 20 something feeling detached from the world he/she perceives. This person is struggling with personal lives and feeling behind with his/her peers, and very lost. He/she is striving to find meaning in things around them but still suffer to be “the good kid” and find places to release his/her emotions.

   3). Which part of the story are you going to focus on? 

  We are going to focus on the feelings of detachment, loneliness, and being left behind – kind of feeling like an outsider and forcing themself to put on a brave face to be happy for their friends.

   4). What kind of style/aesthetics are you going to pursue?

   Inspiration: Wong Kar-Wai (Fallen Angels, Chungking Express)

1. Execution Plan: 

  1). What equipment are you going to use when shooting the movie? (cell phone, DSLR camera, sound recorder, stabilizer..)

Cellphone

DSLR camera

Sound recorder

Stabilizer

DV

  2). Which locations will it be shot at? When is it? Day time/night/unknown? Why?

TBD locations, (city, bridge, bar, vinyl stores…)

Some scenes day, but mostly nighttime.

To create contrast and reflect the protagonist’s feelings.

3). What are some challenges you might encounter and how will you prepare?

Permission to film – try to negotiate beforehand 🙂

Lighting (weather) – bring light sources, check the weather forecast!

Finding actors

4). How will you collaborate? How will you divide work? (Gantt Chart below*)

Filming: Together

Editing: Divide by lines from the audio

 

Task	Owner	Start Date	Due Date	Duration	Task Complete Percentage
Audio		4/24	5/3	2 hrs	0
3-4 Scenes		4/28	5/4	2-3 days	0
Other Scenes		5/5	5/10	3-5 days	0
Editing		5/7	5/10	1-2 days	0

 

Link For The Video:

https://www.youtube.com/watch?v=r-qOgm1sLP0

Cinderella 2015 Royal Ball Scene

Storyboard:

Concept

I chose the experience I had after watching a terrifying Chinese traditional film that delves into spiritual and religious themes as my memory. When I got home that night, I became increasingly terrified as I began to imagine and exaggerate even the smallest sounds in my room. I experienced amnesia and panic. This experience has stayed with me, and I’d like to use it as the source of my soundscape.

Through the use of altered and reverberating sounds, I hope to convey a sense of suspenseful yet solemn feeling. I want to show how my imagination processed and changed the original sounds in response to my fear and anxiety by twisting the regular sounds that happened in my room. I want to recreate the eerie atmosphere I felt that night and transmit it to my audience by manipulating and distorting the sounds so they will be better able to relate to my feelings and comprehend the effects the experience had on me.

Process

I.Sample Collection

Here is a list of sounds I collected for my memory soundscape:

-Beep sound from the printing machine from school

-Bell sound from equipment room

-Tapping the stairs

-Humming

-Breathing

-Door opening/closing

-Nephew talking and crying

-Water-phone play sound

I also did research on how horror movies used daily sounds to cultivate “scary” atmospheres:

During the sound collection process, I want to collect sound samples that are common in our everyday life but can also be interpreted as “scary” under specific circumstances.

For instance, for the door closing sound, I went to a neighborhood in Huaihai Road where they have a creaky old big gate. And I used the recorder to record the door opening and closing. I think the environment of the sound sampling is also important. When I recorded the door closing for my own door, it was plain and boring. However, the sound in the dark neighborhood has a naturally reverb sound effect and the creaky sound is of higher frequency, adding another layer of scariness.

One problem I encountered for sound collection is during the recording of breath. I want to mimic my abrupt and heavy breathing to signify the nervousness and intensity in the soundscape. However, after several times of trying, the recorder still couldn’t capture the feeling. I switched to my phone to re-record and the result was still not satisfying. The breathing sound was of low-quality and it was very unclear. Again, instead of dwelling on this problem, I took a step back and reviewed my project and how I envision this sound to be used in the final version. Even though the breathing could convey a sense of intensity, it also introduces a protagonist in the sound space. However, the idea of my project is for the audience to imagine themselves in this sound space with me, revisiting this site of memory. Therefore, introducing a first person human sound might remind the audience that they are only listeners, thus alienating them from the soundscape. 

II.Editing

For my editing process, the main challenge is to effectively use sound elements to tell a story smoothly. I began by introducing various sound elements and carefully selecting and manipulating them to create a sense of suspense and tension leading up to the climax. To achieve this, I experimented with different sound effects, such as creaking doors, footsteps, and eerie whispers, and layered them to create a complex and immersive soundscape.

For the climax, I used the gestural theory to create a powerful and impactful moment. I used a combination of sound effects and musical cues to build up the tension and release it in a dramatic and satisfying way. This involved carefully choreographing the different sound elements to create a sense of movement and progression, and using timing and pacing to maximize the emotional impact for the audience. The most important step was to copy the sound elements multiple times to create a sense of space and tension.

For instance, I multiplied the door creaking sounds and placed from both left and right to cultivate a sense of space and abruptness. 

Besides, I’m also fond of the part where I combined humming (buddha sound) , door slamming, and kids reading together to signify the arrival of the ghosts. The different sound elements are layered smoothly and together they cultivate a solemn, religious, and dark soundscape.

Another challenge is how to use the sound effects wisely. Instead of using sound effects for all the sound samples, I only used the radio effect for the kid voiceover, which effectively illustrates the scene I hope to construct – doors opening and closing with astonishing speed and the TV/radio is playing scary kids voices.

Below is part of my inspirations for the sounds:

My takeaway from the editing process is that when using Adobe Audition or any other sound editing software, it’s important to use the available effects wisely and only apply them when they enhance the overall concept and message of my project. In addition, I found it interesting to discover how the gestural theory, which is typically associated with graphic design, can be applied to sound design as well. This has allowed me to approach sound design in a more creative and nuanced way, and opened up new possibilities for creating dynamic and expressive soundscapes that engage and captivate the audience.

Conclusion

I would improve my project by controlling the volume wisely so it doesn’t come off as too strong or overwhelming for the audience. I would also like to experiment with more audio effects to make my project more lively and engaging. For instance, I could add another layer of reverb effect for the bells to intensify the sense of space.

During the presentation day, I believe the audience was able to easily understand the story I was trying to tell, and they were also attracted to the story. The impressions were “scary, astonishing, and solemn”.  Overall, I think it was an interesting experience for the whole class, and I am proud of the work I have done to create an effective and compelling sound narrative.

Image of Audition

What are the precise rules of each of the obstructions?

-The first obstruction is that the film must be made in Cuba, no set, all answers from the perfect human should be answered, and it must be shot in 12 frames.

-The second obstruction is to go to a miserable place while not showing it. Jorgen must act.

-The third obstruction is to either shoot with complete freedom or go back to Bombay.

-The fourth obstruction is the film has to be a cartoon

-The fifth obstruction is that Jorgen must be credited as director and he will read the voiceover written by Lars Von Trier. 

How does Jorgen cope with the obstructions?

Jorgen had a pretty open attitude towards the requirements raised by Lars. With different obstructions, he used different approaches to adapt to the standards. However, for the second obstruction, he failed to completely block the background with people around. He was unsure how to approach the project and was hesitant to proceed. However, he gradually used the prompts as a playground to play with effects and movie methodologies to manipulate his masterpiece.

What is the effect on the movies he produces? 

Jorgen used a set of collage effects and diptych effects on the third obstruction. He also used different colors (black/white..) to cultivate different feelings and altered the texts to better fit the overall tone. The cartoon version truly impressed me because it was interesting to see how it can be distinctive from the original version.

Other Thoughts

By “ruining” the masterpiece, it is interesting to see how Lars is trying to challenge Jorgen and let him rethink his own work from various eerie perspectives. I consider it as an experiment that testifies the realm and edges of movies as an art form. 

• Steyerl talks about how the “unbroken belief” of the documentary form is challenged. What does Steyerl mean by this? Certain movies and films are based on a true story.  How does truth inform the fiction? How might fiction inform the truth?

     Traditionally, documentary forms are considered as objective representations of the reality and the true story. They reveal what actually happened by taking a closer look from different perspectives of the story via interviews, recreation of images, videos etc. However, this “unbroken belief” is challenged by Steyerl by stating that producers of documentaries inevitably infuse their emotions, interests, and potentially biases during the production process. Documentaries are not equal to facts and they have always been subjective. They are reproductions of the reality shaped by technology, politics, and power structure of the audience and the producers. And the doubt of the truth-value of the documentaries is also a source of power of the emotional stimulations. 

     For movies and films that are based on a true story, truth is the primary source of the narrative. It is the producers, actors, and screenwriters’ job to adapt the actual story to better cater to the audience in an engaging way. Here, truth is manufactured and processed so the central message can be vividly conveyed and comprehended by the audience via the fiction. On the other hand, fiction reflects the truth to a certain extent. It is a channel connecting the audience with the messages represented by the truth. Fiction also has the power to stimulate the audience and draw attention to the truth by curating the emotional simulations. 

• What is the significance of the authenticity and representation of the truth in the media that you consume on a daily basis? What is the role of a live broadcast?

     Media serves as a channel of information and shapes/extends my understanding of the world. Therefore, the authenticity and representation of the truth in the media have considerable influence on how I perceive the world. More specifically, what I consume on a daily basis shape my perspectives and understandings of social and political issues. It is important to keep in mind how productions in the media, even in forms of documentaries, can be manipulated and micro-managed in a particular way to demonstrate the creators’ perspectives instead of merely reproducing the truth. A constantly critical mindset is essential to apply in real life and minimize the influence of subjectivity in the media.

      For live broadcasts, it is a great way to provide immediate and unfiltered access to reality and avoid being manipulated and edited by third-parties. However, as long as information is conveyed by a medium, it is naturally less objective and contaminated with potential opinions. The way it is presented and the context of the representation would also play a huge part of the comprehension. As illustrated in the example brought up by the article, the ambiguity could also affect the interpretation of the truth. 

Name: Hugo Wang

Name of Project: Time After Time

Concept

The concept for my project is to take photos that convey nostalgia and demonstrate how memories can change over time. I want to demonstrate through my photographies how our memories of the past are frequently shaped by our feelings, encounters, and perceptions — the “scene” registered in our mind might be totally different from what exactly happened. I want to get people thinking about their own personal histories and doubting the veracity of their recollections by emphasizing how malleable memories are. Overall, I want to start a conversation about how memories are subjective and how photos can influence how we perceive the past.

I did my research from two perspectives. The first part focuses on how to use Photoshop to add a “nostalgic” filter and learn what references are there. Eventually I selected the film, Suzhou River, by Lou Ye as my main inspirations for visuals.

The second part of the research focuses on specific ways to demonstrate how memories can be changed over time. In Suzhou River, the director created two protagonists that look exactly the same to confuse the audience – whether or not they are the same person left me pondering and doubting. This is a creative and effective way of communicating between differences and similarities in our memories. Therefore, I want to keep the major element the same in the second image and add different elements in the background to showcase the differences.

Process

                     I.Staging And Photographing

I decided to stage and photograph scenes that would evoke a sense of nostalgia in the viewer for this endeavor. To accomplish this, I chose locations and times of day carefully that would contribute to the desired atmosphere. One such place was a park that I visited at twilight. The soft, warm light of the setting sun added a nostalgic and dreamlike quality to the photographs. I concentrated on photographing a pond encircled by lotus, trees and shrubs in this park. I created a sense of depth and dimensionality in the photos by capturing the reflections of the surrounding greenery in the water. I purposefully left the subjects of the photos vague and open-ended to enable the viewer’s imagination to run wild.

My intentions can clearly be seen in my contact sheet. For most of the photos, the color theme is mainly blue and grey, which relates to the early 2000 aesthetics.

I had several conversations with my friends and professor to select the first image with the best composition. At first I selected the one at the amusement park:

The reason why I picked this picture is because the interactions between people and space. The couple situated at the center of the image are the two dots connected by the mini rollercoaster. There is clearly a story behind the picture and would be a great fit for my photo diptych. However, I soon switched to this image:

What attracts me most is the unique way of capturing the main protagonist. Her back view is disrupted by long and slim leaves. The image is very dynamic and alive. And the focus is also clear  with only one person situated at the center of the picture.

      II.Digital Process

As part of this project, I used digital editing methods to create a fictitious memory space. The use of lotus flowers, stems, and leaves was a crucial component in this process. Initially, I experimented with different combinations of these components, hoping to create a scenario that would evoke nostalgia while also triggering the viewer’s imagination. I finally settled on using only the stems of the lotus plants to create a bamboo forest through trial and error. This method gave the picture a sense of depth and movement, and the repetition of the vertical lines added to the dreamlike quality of the final result. By manipulating the elements of the photo in this way, I was able to curate an imagined memory space that would resonate with viewers and encourage them to reflect on their own experiences and emotions.

Conclusion

There are a few measures I could take to improve this project. To begin, I could improve the curving out of the protagonist in the pictures. This would entail fine-tuning the framing and composition of the photos to ensure a clear and well-defined focal point. I could also experiment with various lighting techniques and camera angles to give the images a stronger sense of depth and dimensionality. Second, I could look into other ways to generate memory space. Experimenting with various elements and textures to create a more complex and layered visual experience could be part of this. For example, to create a more immersive environment, I will consider incorporating more natural elements such as rocks or water. Finally, by refining and developing the techniques and investigating new possibilities, I can create a more powerful and engaging project that connects with viewers on a deeper level.

Image Of Diptych

As someone who can get scared very easily, I want to use sounds to describe a sleepless night when I was a kid. When I was still in primary school, I became very interested in supernatural things and superstitions in China. I read a lot of articles and watched several films around this subject. There was one night when I was at home, everyone was asleep, and I woke up from a nightmare. As I was sweating and feeling super scared, I started to observe things in my bedroom and became very sensitive to sounds — the door was creaking, the window was making weird noises, the wind was blowing strongly outside, and I could hear cats screaming in the neighborhood yards. I started to overthink about the sounds and shadows and the objects hanging on the wall. 

To capture my strong emotions and reproduce the scary scene, I want to use the sound of bells, chimes, and creaking sounds as elements for my memory soundscape. I also want to record the raining as the background to set the tone for the memory. Besides, I want to create a sense of space for this project. I want to manipulate volumes and frequencies of different sound elements to cultivate a sense of space and environment.

What does Ritchin mean with the “fluidity of the digital”? Give an example of digital imaging/digital photography that exemplifies this.

Reflect on the extent to which photography is capable of capturing reality; and compare it to other media (technology) (e.g. text, video, virtual reality, books).

Ritchin deconstructs “fluidity of the digital” from two perspectives. With the development of technology, the advent and prevalence of computers and emergence of various photo-editing tools, the essence of photography has been innovated as well. What was traditionally considered receipts for facts and reoccurrence of reality now has been given new meanings. Photographers used to manipulate the photograph by nature – the alternations of lights, the shooting props, the weather etc. and they endeavor to capture moments that are worth remembering. However, digital infuses a powerful way to intervene the natural expressions of photography. Trees can be pink, a bad lighting can disappear, winter can be summer, even the protagonist can be wiped out with a lick of the mouse.  

As Ritchin said in the book, photographs were interpreted reactively. They exist, then the audience comprehends. However, digital shifts this dynamic. People can easily alter images in a proactive way to cater to their aesthetics and what they hope to achieve in the images. 

I think it is interesting to discuss journalistic photographers. Their profession is to reproduce the facts/reality at best and reveal the true story to the audience. However, images are not hard-core evidences. Your are as likely to be fooled by images on newspapers as to be catfished by your tinder date these days. When a reporter was covering news about the Isarel-Lebonon conflict, the reporter was allegedly accused of reediting the images (repeat layers of smokes, buildings etc.)

Comparing all media(technologies), I think photography is still strong in capturing reality, even though the power is diminishing. But people seem to embrace the possibility of fraud and would like to view it as “how the photographer wants the audience to perceive”, then the choice is left to the audience to be skeptical and critical. And with the emergence of virtual reality, I start to question if reality is still as important. If something is totally manufactured, but brings real experiences to humans, can we say it does not have any “true” value?

 

Concept

For my Diptych project, I want to depict the relationship between the real world and the internal imaginary world. Growing up I’ve always imagined a world where people have superpowers and all my wishes would come true. For instance, when something is bothering me considerably and makes me very frustrated, I just talk a walk around my apartment and think about the world where all these problems are solved and I get to do whatever I want. Personally I regard this approach as an escape for me from the brutal reality while also a preventive measure to rival with depression that might emerge in stressful environments. 

Imagination has been my source of hope and empowers my creativity. It would be very meaningful and interesting to use this project to celebrate and embrace the act of imagining, and how it can influence individuals in a powerful and positive way.

Image Conversations

I plan to set up two images that connect closely with each other. The left image will depict the reality – how the protagonist suffers from real life problems and aspires to find a cathartic way out for his/her emotions. The right image will be the imagined photograph where supernatural elements will be added to the scene and the protagonist will become a superhero that is capable of doing limitless things. The contrast would create tension between reality and imagination while strong connections also lie in the conversations between the two images.

Images Material

For the images I want to take multiple ones so I have a variety of selections. For the reality image, I want to take pictures of someone who is worried about their future or stressed from schoolwork and decides to take a short nap. There could be a comic book by his/her side to serve as a hint for the imagined picture. 

For the right image, I want to take pictures from multiple comic books and supernatural-ish vibe elements (fire hydrant spraying water, broken cars etc.) to construct an American comic book aesthetic.

Images Manipulation

For the image on the left, I intend to keep it rather original. I might add a darker effect to enhance the depressed feeling but edits will be restricted to contrast with the right image.

For the right image, I intend to use a series of visual effects on photoshop to create the comic book aesthetics. I will also add more small elements to reinforce the overall aesthetics. I have also listed some reference pictures for the manipulation.