Author: Anita Luo

Proposal

Our final assignment aims to explore the relationship between sight and sound. Sight and sound in a film is a fundamental of storytelling. It evokes emotions, enhances the narrative, and creates a more immersive experience for the audience. The limitations of this project can fuel creativity and lead to innovative outcomes and new approaches to filmmaking. I hope to use this final assignment as well as the practice activities as catalysts for my artistic growth and exploration—like in The Five Obstructions. Furthermore, as a filmmaker during the next few projects, it is important to note the uncertainty of documentarism proposed by Hito Steyerl. One must note that documentary forms can “create false intimacy and even false presence.” Do we want this falsity? Do we value expression or representation? It is in the agency of the artist to choose whether they want to create an unfiltered truth or a synthesized fiction. Furthermore, can expression not be a form of representation?  I intend to see how fiction, visual metaphors, can inform the truth through synthesized means.

3-in-1 Exercise

Introduction

I was assigned to record a continuous 30-second video with a clearly defined beginning, middle, and end. Through this exercise, I intend to explore the importance of structure in filmmaking as well as familiarize myself with filming equipment and techniques. 

Concept

The following shows the structure of the video:

Beginning—A dark world that represents our dreams and subconscious mind. The mood is eerie. 

Middle—The woman appears and starts singing “Nature Boy” by Nat King Cole.

End—The end is signified by the last chime of the music box in the woman’s hand.

The panning of the performance is aimed to introduce a sense of disorientation, mystery, and playfulness. Furthermore, the sudden dimming of lights at the end aimed to evoke a sense of ominousness for the viewers. Additionally, the setting is peculiar and eerie due to the spotlight that makes everything around it dark. Thus, I believe that the combination of all these factors created a compelling 30-second video that has concept, originality, composition, and aesthetic.

The woman manually winds a music box while chanting “Nature Boy” in a seductive yet ominous way. The viewers are enticed to listen to her stories and nostalgia.

Additional notes: Although the subject matter, the performer and her performance, was not originally prepared by me, I believe that through this exercise I was able to learn a lot about cinematography and film techniques and explore the relationship between sight and sound. My exercise is less about the content and more about how structure and technique can create a compelling narrative. Furthermore, our class also studied The Uncertainty of Documentarism by Hito Steyerl where we explored the intricate relationship between truth and fiction in the context of the documentary form. Through this exercise of documenting performance, I came to understand this connection more.

Process

The video was taken in the McKinnon Hotel at West Beijing Road. The setting allowed the conditions to create a more professional video: spotlight, professional performance, professional “actors” and no background noise. 

Adaptation Mapping

One of the challenges was to get the equipment I needed for this assignment as a lot of classmates required the same equipment as me. Thus, I resorted to using my phone. I also used the table and my bag as a stabilizer and panner. Another challenge was ensuring the video quality. Even though I had selected the 4k resolution on my phone, there was a possibility that the dark environment lowered the video quality. However, I believe the distance helps to compensate for the compromised quality.

On the other hand, I was very happy with the final result as it had a good beginning, middle, and end as well as composition and aesthetic.

Conclusion

Filming a clearly defined beginning, middle, and end can teach us valuable skills. Firstly, it highlights the importance of structure in storytelling. Through a well-structured narrative, we can engage the audience and effectively convey our message or story. It helps us present a video logically and legibly which allows the audience to follow along easily. Secondly, it highlights the importance of planning and preparation. Before filming, we need to outline the key points and the desired outcome to create a proposal and storyboard. This process encourages us to think critically about the scope, identify the most compelling components, and ensure a legible flow from beginning to end. An interesting beginning can hook the audience and pique their curiosity. The middle can dive deeper into the subject matter, provide information, and retain the audience’s interest. A well-executed ending helps to wrap up the video, deliver a message, and leave the viewers with a sense of satisfaction or a call to action. Thus, the skills learned in this exercise can be applied to communication to enhance the impact of content.

Reverse Storyboard Exercise

Introduction

I was assigned to create a storyboard from “a section of a movie (no trailer or remixes), a TV ad, or a music video.” I intend to utilize this storyboard exercise to consider how film sequences can be broken down into panels—from an intricate and sizeable scene to smaller components—and how this can inform me about the filmmaking process.

Concept/Choice Explanation

For this exercise I chose a scene from Spider-Man: Across the Spider-Verse. The film has been widely commended for its ingenious cinematography and film techniques—creating a visually captivating and dynamic experience. The use of comic book-like visual effects, framing techniques, editing techniques, and use of split screens adds depth and excitement to the storytelling. I chose this scene to expose myself to these various aspects to learn more about different techniques and skills to ensure that I am well-equipped for the final project. Existing films such as Spider-Man can also be a source of inspiration for my final project. Learning from others is a good skill to harness.

Process

While drawing out the storyboard I considered the scene number, camera angle, movement, shot, description, and lines of dialogue. I used Clip Studio Paint to draw the storyboard. 

Conclusion

By reverse storyboarding, we can gain insights into the underlying structure, pacing, and visual filming techniques employed in a scene such as the composition and framing choices made, how different shots and angles contribute to the overall storytelling, and how these overlapping elements convey the intended message and mood. On the other hand, the exercise reveals how storyboards act as a visual blueprint during the filmmaking process: they refine the creative vision of the film so that the final product is cohesive and compelling. It ensures that everyone involved in the production is on the same page during communication and collaboration and working towards a common vision. Furthermore, storyboards allow filmmakers to anticipate potential challenges or limitations in the execution of certain shots or sequences. Additionally, it’s an opportunity for problem-solving and adaptations before committing to resources. The use of storyboarding can be seen in The Five Obstructions in which we see Leth planning out his ideas. Thus, this exercise exposed me to a variety of film techniques, taught me how to refine my communication of these techniques, and appreciate the significance of the step of storyboarding.

Everyday Activity

Introduction

I was assigned to create a 30-second instructional video of an everyday activity. Through this exercise, I intend to explore different camera angles and movements that we learned in class, consider the structure of the video, and further familiarize myself with filming equipment. The assignment also encourages us to consider various audio/sound options to assist the narrative in the video.

Concept

In this video, I wanted to capture one of the more special daily activities I had in South Africa—making honey lemon ginger syrup. I wanted to illustrate the warm and innocent memories of picking lemons, washing them, and chopping them by creating a fresh, simplistic, well-lit, and sound-sensitive film. The attention to detail was intentional to produce a raw—like raw lemons—and wholesome video. I tried using different shot types, movements, and creative ways to transition such as zooming in and out, diagonal lines, and spinning through the editing phase. Furthermore, a lot of the shots are noticeably close-ups because I wanted to produce a sense of intimacy and immersion. Thus, my video lies in its ability to provide relaxation, immersion, and a sensory experience that can be both comforting and enjoyable for the viewers—this is a result of the collaboration of sight and sound.

Inspiration

My video is inspired by the multitude of cooking ASMR videos on YouTube in which they pay particular attention to sound. There are a lot of soft sounds and gentle movements—these are particularly interesting to take notice of in the final project. The sounds and visuals associated with cooking, such as the crackling of a frying pan or the aroma of freshly baked goods, can evoke memories and create a sense of comfort and familiarity. Cooking ASMR videos often feature soothing sounds, such as chopping, sizzling, and stirring, which can create a relaxing and calming effect for viewers. Furthermore,  these types of videos provide a vicarious experience—the close-up shots and attention to detail in these videos can make viewers feel like they are right there in the kitchen which enhances the overall appeal. 

Process

Step 1: Pre-Filming

This step involves planning and preparation before the actual filming begins. I created a brief storyboard, selected a location, and found a time suitable for lighting.

Step 2: Set-up

On the day of filming, I had set up the equipment. I shot the video using an iPhone XS Max—I ensured to select the 4k resolution on my phone—and a tripod. My choice of equipment is due to the fact that I was handling food so I wanted to prevent any damage to the equipment borrowed from the campus. I also prepared the set by placing the cutting board, lemon, ginger, honey, and jar on the counter.

Step 3: Camera and sound checks

I ensured the proper functioning and quality of the cellphone’s camera and sound by filming a video first. I also checked framing, focus, and lighting to capture the scene effectively.

Step 4: Filming

During filming, I paid particular attention to the natural lighting cast by the sun because I wanted to deliver a sense of warmth and freshness. I made a few adjustments to what was presented in the storyboard because the position of the subject matter had to be adjusted for the perfect lighting and sometimes the subject was obscured from certain positions.

Step 5: Editing on Adobe Premiere Pro

I picked 5-10 seconds of each shot taken that met the standards of good lighting, resolution, and sound. After I had done so I compiled all the shots together. I utilized “warp stabilizer” for the shots that had noticeable shaking. I also paid particular attention to the smooth transitions between shots by ensuring that movements and objects lined up by adjusting “positions”—this can be seen in the transition between the lemon and garlic.

Step 6: Editing on VideoLeap

Due to time and also the fact that I didn’t know how to add text, I decided to use an editing application that I was more familiar with for text and transitions. I decided to use white text because of its simplicity which could enhance the softness of the video. I experimented with different types of transitions in VideoLeap which also prompted me to steer away from the original storyboard. For example, the swirl transition at the end was not within my vision but it was a great addition to the video which added movements and creativity to it.

For the final project, I intend to use the text function on Adobe Premiere Pro.

Step 7: Final Adjustments

After reviewing the video I found a transition that looked out of place where it zooms in on the garlic so I removed the feature. Secondly, I added credits for the editing software that I used at the end of the video instead of the beginning.

The video above is the old version.

Adaptation Mapping and Reflection

• I had to adapt to unpredictable weather conditions. Thus, I had to check for the most favorable weather conditions to film the video. Furthermore, I had to adjust a few angles and positions from the storyboard to ensure that I had the best lighting.
• Due to time constraints, I resorted to using another application. Sometimes due to unforeseen circumstances, one can find alternatives. However, if I have time I would like to learn and familiarize myself with Adobe Premier Pro instead of using VideoLeap as VideoLeap is a phone application and has limited functions. Furthermore, the continuous transfer of files from one application to another has most likely reduced the resolution of the final video. Thus, for the final project, I will aim to only use one application preferably Adobe Premiere Pro.
• Because I was filming myself I did not realize that I had recorded some shaky videos such as the shot of washing the lemons. Thus, through the editing phase, I fixed a lot of filming problems by stabilizing, denoising, and zooming in and out.
• One downside to my video was the gentle humming from the stove which I did not notice at the time of filming. Not only is sight important but sound is too. Thus, in the final project, I will pay more attention to the sounds that I record as the relationship between sight and sound is critical in the project.
• In this exercise, I had noticeably exercised agency during the filmmaking process.  The advantage of creating a film without the traditional steps is mostly the flexibility and efficiency offered by modern technology. It’s important to note that while digital technology offers advantages, traditional film procedures still hold a lot of value due to their unique appeal and process. 

Conclusion

This activity could be regarded as one with obstructions. The instructions were specific: the video had to be 30 seconds, it had to be an instructional video and had to contain different camera angles and movements. Through this exercise, I learned a lot about adaptation where unforeseen circumstances catalyzed my self-growth as an artist. I learned the art of trying new things such as the time I had to test different types of transitions and finding unexpected but good results from it. Furthermore, I have come to appreciate the intricate, extensive but very necessary steps of filmmaking such as planning, setting up, camera and sound checking, filming, editing, and reviewing. This activity has taught me technical skills, time management, problem-solving, attention to detail, visual communication, adaptability, and flexibility.

*Extra: AI Tools for Video Editing

Although I did not use AI in my work, it is interesting to investigate the accessibility of AI tools for video editing today, particularly VideoLeap. It is an easy-to-use video editor application that lets you transform and edit videos into professional-quality clips in only a few minutes by offering artistic effects, layer editing, premade templates, advanced features, and AI tools.

For example, VideoLeap offers AI Recolor and AI Image.

AI Recolor follows the prompt given to color the video. 

AI Image is similar to the image generators found online where you put in a prompt and select a style. These images can be directly used in VideoLeap. This feature also makes me curious about whether there are AI video generators, not video editors but actually creating moving images, that exist already or not. 

However, some AI tools in Videoleap require a subscription to be used in projects.

From this example, you can see how accessible and easy it is to use AI for video editing today—you only need a cellphone. 

Sources to check out if interested:

VideoLeap Website

AI Introduction by VideoLeap

AI in Mobile Phones

Juxtaposition

For better viewing: 1BBD7749-BC46-4EF8-9C60-2334092A5D91

Introduction

I was assigned to create a 30-second to 1-minute split-screen in 1920*1080 HD video where two scenes are in conversation/connection with each other and can be non-narrative. Through this exercise, I intend to explore the concept of a visual metaphor and focus on how the elements of film can evoke vivid emotions. I also wanted to see how sound could relate to sight.

Inspiration

I was inspired by Kontakt 2020, a film by Rosa Luckow, that uses juxtaposition to create conversation and a relationship between two moving images side by side.

Concept

In this video, I wanted to portray a sense of delicate and frantic energy that offers spikes of hysteria while also a fresh perspective on our surroundings. Thus, there is the theme of the power of nature, its fragility, and its simultaneous impending force. My choice of music was Sonata by Ryuichi Sakamoto. Sakamoto combines contemporary, percussion-heavy synth sounds that sound metallic and dreary with fast, classical runs of notes. It’s an exhilarating juxtaposition that exemplifies Sakamoto’s ability to take simple elements and turn them into something special. Even with its little orchestration, Sakamoto crafts an amazing cinematic soundscape out of it. Its tripled tempo causes the overlapping sounds to become dissonant and unstable. Similarly, the video above feels unstable and discordant while the images on the left compliment the right.

Progress

Step 1: (Pre-)Filming

Instead of following the traditional steps of filming, I followed the steps in the reverse order in that I started with filming. The inspiration for filming this video was spontaneous. I was at Yuyuan one day and noticed how unique the waters rippled in the pond. Similarly, later that week I noticed how the shadows cast by the trees had a similar “dance” to it like the water in the pond. Thus, I wanted to connect their relationship and how the components of nature have almost a shared bond and shared energy. Thus I picked out more videos from the Yuyuan trip for this exercise.

Step 2: Editing

Unfortunately, students occupied all of the computers on campus and I did not have Adobe Premiere Pro on my personal laptop. Thus, I utilized VideoLeap once again to create the juxtaposition. Fortunately, the editing was not complicated so there were no limitations or obstacles during the editing phase. Furthermore, I experimented with filters to create a more vibrant shot for the lemon part. Additionally, I experimented with speed and reverse so that I could find a way to match the sound and sight to create a rhythm-sensitive video. Instead of using this exercise to familiarize myself with Adobe Premiere Pro, I took this chance to experiment with different filters, orientations, speeds, and other features that could spark any ideas for the final project. For the final project, I intend to experiment with these features on Adobe Premiere Pro.

Step 3: Music and Vision

To solidify my concept, I chose Sonata by Ryuichi Sakamoto as my background music. As explained in the “Concept” section, Sakamoto combines contemporary, percussion-heavy synth sounds that sound metallic and dreary with fast, classical runs of notes. It supports the idea that the power of nature is through a sense of instability and frenzy.

Adaptation Mapping and Reflection

In this exercise, I had noticeably exercised agency during the filmmaking process.  The advantage of creating a film without the traditional steps is mostly the flexibility and efficiency offered by modern technology. It’s important to note that while digital technology offers advantages, traditional film procedures still hold a lot of value due to their unique appeal and process. Thus, the choice between traditional and digital methods depends on the artistic vision and pragmatic considerations of the filmmaker. However, I do believe that for this particular incoming project, the traditional method would be more advantageous as it ensures quality. This exercise can be considered a fun experiment and an opportunity for me to exercise freedom.

Conclusion

Through this exercise, I found that using color, shape, size, motif, and sound, can enhance the metaphorical impact of juxtaposing images in conversation with each other. Visual metaphors can be subtle and involve using imagery to represent an abstract concept or idea. In order to create connections between the visuals and the elements of the concept, we need to consider how the visuals can symbolize or represent the abstract concept in a meaningful way, and explore different ways to arrange the images to create a compelling composition. Furthermore, experimentation is key to finding the most impactful and meaningful ways of communication.

If I have time, I would like to revisit this exercise and make improvements. 

Rationale

It is true, according to Steyerl, that films can “create false intimacy and even false presence.” This is evident in the way in which I planned, prepared, and carried out my filmmaking exercises. Everything had an aim and every element had to “fit” into a certain concept which limited the scope of reality. However, one must admit that the purpose isn’t false. In other words, the efforts and thoughts put into these expressions or representations, whether synthesized or not, aim to appeal to the audience and deliver a certain message. The filmmaking process, as we have seen above, is scrutinous and extensive, and in order to create the most compelling message one needs to forge an intimacy and presence. On the other hand, the struggles and obstacles that the filmmakers face are very real and I think that this is a very meaningful experience for me. As viewers, we have the responsibility of judging a film critically and evaluating its significance whether it lies in its truths or falsity. Either way, there is always something to learn from the experience of watching listening, and even making films. I hope that the final project will allow me to embrace how fiction—visual metaphors—can inform the truth and create a compelling piece of work.

Fate by Anita Luo and Calvin Lin

Proposal

I. Project Title: Fate

II. Team Members:  Anita Luo and Calvin Lin

III. Concept |Storyline: 

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

The piece for the narrative voiceover could be a reflective monologue or letter written by one of the lovers, expressing their thoughts and feelings about the rekindled meeting and the memories that resurface. Alternatively, it could be a series of journal entries or inner thoughts narrated by the characters.

 2). What’s the story about?

The story is about the complex emotions and nostalgia that resurface when two former lovers reunite after a breakup. It explores themes of love, regret, and the passage of time.

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

The focus of the story could be on the moments of reconnection between the two lovers, particularly when their memories flashback. It could delve into the tension between their shared history and the realization that they have both changed and moved on.

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

The style/aesthetics could be characterized by a dreamy, nostalgic atmosphere with soft lighting, muted colors, and evocative music. The use of flashbacks can be visually distinct, perhaps with a slightly faded or sepia-toned look to distinguish them from the present-day scenes. The narrative voiceover can be introspective and poetic, reflecting the characters’ inner turmoil and bittersweet emotions.

IV. Execution Plan:

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

DSLR camera, stabilizer, cell phone, sound recorder, and lighting.

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

The locations could include places that hold significance to the characters, such as their former favorite spots or places from their past relationship. Depending on the narrative, scenes can be shot during various times of the day or night to convey different emotions and atmospheres. For example, daytime scenes may symbolize hope and a fresh start, while nighttime scenes may evoke nostalgia and reflection. Seasons can also come into play—Autumn is cold whereas Summer or Spring is lively. The choice of locations and timing should align with the emotional journey of the characters and the mood of the story.

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

Potential challenges and preparations:

1. 1. Weather: Unpredictable weather conditions can affect outdoor shoots. Preparations may include having backup shooting days or using weatherproof equipment.
   2. Emotional scenes: Actors may need support and rehearsal time to convey the depth of emotions realistically.
   3. Logistics: Coordination for props, costumes, and actors’ schedules must be well-planned to avoid delays.
   4. Budget constraints: Ensuring that the budget covers all necessary expenses is crucial.

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

1. Schedule: We will create a timeline with key steps and deadlines, and allocate tasks based on our strengths and availability. We will use project management tools or collaborative platforms to enable communication and task tracking such as Google Docs or WeChat. We will also utilize the Gantt Chart offered in the template.
2. Discussions: We will have open discussions and brainstorming sessions to generate creative ideas for the project. Consider everyone’s input and find consensus on the direction to take.
3. Rehearsals and practice sessions: We will schedule rehearsals to refine performances, test camera angles, and ensure smooth coordination among the two of us. Constructive feedback will also be provided to help improve the overall quality of the project.
4. Film and edit: We will follow our storyboard and capture the scenes as planned. Afterward, we will collaborate on the editing process, combining footage, adding effects, and refining the final product in sections/scenes so that we can delegate work.
5. Review and feedback: We will discuss places of improvement and make necessary revisions to enhance the overall quality of our project.

V.  Storyboard Draft

VI. Schedule

Task	Owner	Start Date	Due Date	Duration	Task Complete Percentage
Proposal write-up	Calvin	11/21	11/22	1 day	Done
Proposal Storyboard	Anita	11/21	11/22	1 day	Done
Filming 2-3 scenes	Anita & Calvin	11/29	11/30	1 day	Done
Filming the rest	Anita & Calvin	12/02	12/02	1 day	Done
Editing the structure and sound	Calvin	12/02	12/05	2 days	Done
Editing filters, color correction, and subtitle	Anita	12/05	12/06	1 day	Done

Brainstorming

The ideation process for “Fate” involved brainstorming sessions where we generated ideas for the storyline, characters, and visual aesthetics. We drew inspiration from classic romance films and literature while adding our unique twist to the narrative. Our goal was to craft a compelling story that would engage viewers emotionally.

Inspiration & Conceptual Integration

Inspiration

The inspiration for this project came from our shared love for romantic dramas and the idea of exploring the themes of love, regret, and the passage of time. We wanted to create a story that would evoke strong emotions and resonate with audiences who have experienced the complexities of past relationships.

Concept

Our project, “Fate,” is a short film centered around the theme of destiny. The story follows two lovers who have separated over time. The narrative is presented from the perspective of the male character, reflecting on their shared moments and memories. He contemplates the lessons he has learned from their relationship, documenting them in his diary. The story’s conclusion can be interpreted in two ways. One interpretation suggests that despite their breakup, the man still clings to their relationship, yearning for a reunion. The alternative interpretation hints at the girl’s passing, as she often joked about going to a distant place. In the end, the man expresses his anticipation of their next meeting, signifying his hope for a reunion in the next life.

Intentions

We wanted to explore the topic of rekindled love and nostalgia because it is a universal and relatable theme. Many people have experienced the mix of emotions that come with encountering a former love, and we believed it would make for a poignant and thought-provoking story.

Process

Step 1: Pre-Filming

We created a detailed storyboard that outlined each scene, camera angles, and character interactions. The storyboard served as a visual roadmap for our project, helping us plan the composition of shots and convey the desired emotions. The storyboard can be viewed above. While confirming the location and reevaluating the resources we have, we adjusted the storyboard to adapt to our conditions. 

The blue markings are post-production notes.

Step 2: Set-up

We borrowed the Canon EOS 6D EF 24-105 f/4L IS USM Camera Kit 011 (32g) for this project. On the day of filming, we set up the camera with a tripod or had one of the team members hold onto it. We also used our phones which were set to 4k and 30 frames per second. We also dressed according to the storyboard—winter clothes. 

Step 3: Camera and sound checks

We ensured the proper functioning and quality of the camera and cellphone’s camera and sound by filming a video first. We also checked framing, focus, and lighting to capture the scene effectively.

Step 4: Filming

Choosing the right settings was paramount to the success of our project. We meticulously handpicked locations that bore profound significance to our characters, intensifying the emotional resonance of our film. For instance, we opted for a serene park as the backdrop for the initial meeting of the two lovers. This choice not only mirrored the tender nature of their reconnection but also provided a picturesque setting for their emotional journey.

Additionally, we ventured to a charming Christmas market to capture scenes that portrayed cherished memories from their past. Filming in this festive and nostalgic environment allowed us to infuse our project with an enchanting atmosphere that resonated with the rekindled love and longing theme.

Throughout the shooting process, we engaged in meticulous coordination with our actors, ensuring that their performances harmonized seamlessly with our creative vision. This collaborative effort contributed significantly to the authenticity and emotional depth of our film, ultimately elevating the impact of our storytelling.

Step 5: Editing on Adobe Premiere Pro

Screenshot of project

In the editing process, Calvin’s role primarily involved setting up the general framework of our video and overseeing the integration of music, sound effects, and audio creation to heighten the emotional impact of the film. He played a pivotal role in selecting the appropriate music and ensuring it complemented the tone and mood of each scene. Additionally, he handled the initial assembly of the audio elements, establishing the groundwork for the soundscapes that would enhance our storytelling. Following this, he provided the rough draft of the video, which served as the foundation upon which I performed minute editing, including color correction and fine-tuning. This collaborative effort ensured that our final product was a seamless, cohesive, and emotionally resonant narrative that engaged our audience effectively.

Calvin felt a great sense of accomplishment when working on the concluding scene, where the female character gracefully disappears, and the male character slowly turns around. Experimenting with the video’s opacity added an intriguing and captivating element to the process.

The following were my contributions during the editing phase.

Chrome aberration nest sequence

I first duplicated the scene 3 times. Each scene had the “Color Balance (RGB)” effect and  I adjusted each to have only red, green, or blue. I then adjusted each scene’s scale to create a chrome aberration to enhance the nostalgic effect.

Additionally, I did some color corrections in the “Lumetri Color” panel.

Nostalgic glow

I utilized “Luma Key” and “Gaussian Blur”.

Nostalgic blur

I created the blurry effect by adding a circular mask of “Fast Blur.”

Credit roll

I created two separate text boxes which were placed on each side of the poll. I then enabled the “Roll” feature which helped me complete the final credits scene.

The following shows the copyright status for our use of the background music.

Step 7: Final Adjustments

The following video is an old draft:

When we rewatched our video we found a few places that we could fix. For example, the background music was too soft, and the background music credit was incomplete. Although we had doubts about whether the blur effect was too much or not, we decided to keep it after a consultation with our professor.

Adaptation Mapping

We initially had two ideas which included the idea of a plate metaphorically representing a person. As the person experiences hardships, challenges, and societal pressure throughout the day the plate would overflow and cause the person to have a “crash.” However, while filming these scenes, we did not think that the message was conveyed very well with the scenes we had in hand. Thus, we decided to do our other idea about a love story. Furthermore, we initially wanted to use the heart-shaped streetlights in the love story to show a metaphor for their love which eventually was not used.

Storyboard

Scenes filmed

Weather

One significant challenge we faced during our project was the unpredictable weather conditions during outdoor shoots. To address this, we established backup shooting days and invested in weatherproof equipment, ensuring that adverse weather wouldn’t disrupt our production schedule or damage our gear.

No cameraman

We encountered difficulty filming certain scenes due to the absence of a dedicated cameraman. To overcome this hurdle, we had to meticulously set up the camera in advance using a tripod, requiring precise planning and coordination. In tandem with these challenges, emotional scenes demanded extensive preparation and support for our actors, necessitating rigorous rehearsals to ensure authentic and heartfelt performances that aligned with our creative vision.

Additional notes by Calvin

Roles & Contributions:

In our collaboration, I handled the scriptwriting, directing, narration, cinematography, and initial editing aspects of the project. My teammate, Anita, contributed to character development, location selection, editing, and cinematography. We both provided feedback on each other’s work throughout the project.

Appreciation:

I would like to express my appreciation for Anita’s dedication and creative input. Her expertise in editing added depth and visual appeal to our project.

Learning from Each Other:

The collaborative process allowed us to learn from each other’s strengths. I gained a deeper understanding of editing and color corrections, while Anita learned more about cinematography and story-telling

Camera Language:

We used various camera angles and shot compositions to convey emotions. Close-ups were used to capture subtle expressions, while wide shots emphasized the characters’ isolation and longing.

Color Correction/Adjustment:

We employed color correction to create a dreamy and nostalgic atmosphere. Warm and muted colors were used to evoke a sense of nostalgia, while subtle shifts in color tone helped differentiate between flashback and present-day scenes.

Tone/Pace of Video:

The tone of our video was contemplative and paced to allow viewers to immerse themselves in the character’s emotions. Slow, deliberate pacing during emotional moments helped convey the depth of their feelings.

Overall, our project “Fate” aimed to create an emotionally resonant and visually compelling narrative. Through collaboration and careful attention to aesthetics, we sought to engage our audience and provoke thoughtful reflection on the themes of love and nostalgia.

Audience Reception

Our classmates praised Calvin’s editing of the female lead vanishing in the last half of the video. It captured the heart-wrenching situation in which the male lead loses his partner. Furthermore, the scene’s emotional respect heightens as the male lead turns around to find no one there while the line states that their story halts at 20 years of age.

The audience was able to interpret the video in the way that we envisioned. There is a duality of meaning in our video: the female lead had either passed away or broke up with him. In this way, we highlight the visual metaphor as we can compare a partner leaving your life after break up as them passing away and no longer existing. Furthermore, it captures the male leads’ hope, which is symbolized by the lamppost, that the couple will be together again in the next life.

Additionally, the motif of the handwriting scene allows the audience to follow along logically as well as offers them the sense of time and space of the narrative.

Rationale

The final project allowed me to embrace how fiction—visual metaphors—can inform the truth and create a compelling piece of work. By exploring the theme of love we also explored the theme of fate and how a concept could be 3-dimensional and multi-faceted. Thus, we can see that everything in our lives, every feeling, certain time, and space can be delved in deeper—nothing in our lives is restricted at its surface level. The way in which we capture a scene is like painting an oil painting—it still contains the wet paint within the solidified edited scenes—which enriches our view of the world and our lives.

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?

The “unbroken belief” of the documentary form that Steyerl mentions is the audience’s perception that everything on screen is entirely true—a fact that cannot be questioned. However, the longstanding faith traditionally placed in the documentary form has been spoiled—there is now an “uncertainty that documentary truth provokes”. Steyerl notes that there are some images in documentaries that “bear no similarity to reality.” Thus, “we have no basis for judging whether reality is being shown … in any objective way.” The “unbroken belief” is challenged by the displacement of documentary truth to one of expression. In other words, traditional notions of documentarism as an objective representation of the real world in movies and films are being undermined by various elements such as the proliferation of digital technological tools, the manipulation of images, and the subjective viewpoints of filmmakers. 

How does truth inform the fiction? How might fiction inform the truth? Hito Steyerl explores the intricate relationship between truth and fiction in the context of the documentary form. Steyerl suggests that truth can inform fiction by providing a basis for storytelling—serving as a starting point. Documentaries often draw from real events, facts, and testimonies to create narratives that reflect and remark on reality. On the other hand, fiction can inform the truth by offering alternative perspectives, interpretations, or creative reconstructions of events—it can offer new insights and perspectives so that we can “regain critical distance”. Steyerl argues that fiction allows filmmakers to challenge dominant narratives, question established truths, and explore subjective experiences that may not be easily captured through traditional documentary methods. In this way, there is a dynamic interplay between truth and fiction. It is through this interaction that documentaries can engage viewers in critical thinking and encourage them to question their assumptions about reality.

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?

Authenticity refers to the trustworthiness and reliability. It is the responsibility of media outlets to uphold ethics, fact-check their content, and provide transparency. Authenticity helps build credibility and fosters public trust in the media. The authenticity and representation of truth in the media we consume daily have significant importance. As consumers, we rely on the media to provide us with accurate and reliable information about affairs around us. The truth in these media plays a crucial role in shaping our understanding of current events, leaving room for public opinion, and mediating informed decision-making.

On the other hand, representation refers to how different perspectives, voices, and experiences are portrayed. It is crucial for the media to strive for diverse and inclusive representation, as this allows for a more comprehensive understanding of the world and helps prevent biases and stereotypes. Biases and stereotypes could reinforce dominant narratives and close critical distance.

Live broadcasts provide real-time coverage of events as they unfold, allowing viewers to become witnesses. Live broadcasts can offer a sense of immediate authenticity, and transparency, as they often require little editing or manipulation. They enable viewers to form their own judgments and interpretations based on unfiltered information.

Additional notes:

• Even live broadcasts can be subject to biases, misinterpretations, or incomplete information. Therefore, as consumers, it is crucial to critically evaluate the sources and context of the media we consume to ensure a more accurate understanding of the truth.
• As a filmmaker during the next few projects, it is important to note the uncertainty of documentarism proposed by Hito Steyerl. One must note that documentary forms can “create false intimacy and even false presence”. Do we want this falsity? Do we value expression or representation? The answers can be subjective as I believe it is in the agency of the artist to choose whether they want to create an unfiltered truth or a synthesized fiction. Furthermore, can expression not be a form of representation? As Steyerl states, fiction allows filmmakers to challenge dominant narratives, question established truths, and explore subjective experiences that may not be easily captured through traditional documentary methods. This is a method of how fiction can inform the truth through synthesized means.

Source:

Steyerl, Hito. “Hito Steyerl /// The Uncertainty of Documentarism.” Chtodelat.Org, 25 Aug. 2013, chtodelat.org/b8-newspapers/12-55/the-uncertainty-of-documentarism/.

What are the precise rules of each of the obstructions?

Obstruction #1:

• No single edit can be more than 12 frames
• Answers to the questions posed in the original narration
• Must be filmed in Cuba
• Leth cannot have a set

Obstruction #2

• Must be filmed in a miserable place
• Go close to harrowing things that Leth will refrain from filming/showing
• Leth must play the role of the man
• The meal must be there

Obstruction #3:

• Make a film with no rules or go back to Bombay

Obstruction #4:

• Make a cartoon

How does Jorgen cope with the obstructions?

Obstruction #1:

• Jorgen takes advantage of the limited frames to create rhythm and variety. Furthermore, he creates broader movement by playing certain sequences back and forth. The rhythm of the film is also complemented by the music in the background.
• Jorgen also copes with the 12 frames by adding different types of shots: long shots, medium shots, and close-up shots.

Obstruction #2:

• To minimize the obstruction of distance, Leth uses a transparent screen. He copes with obstructions in the project by taking advantage of objects which expands the possibilities of filmmaking to create meaning and depth.
• Leth films in Bombay which he interprets as the most miserable place on Earth.
• Leth exacerbates the misery of the setting by showing a pique contrast between his luxurious meal and the people behind the transparent screen.
• Leth came to the analytical thought of how going to the limits can turn fear into madness.

Obstruction #3:

• Leth copes with the third obstruction pretty well by the end because of the lack of documentation—lack of adaptation mapping.
• He also offers the “perfect film” for the “perfect human”. There is the use of narrative, juxtaposing images, and various shot types. Through this film, we see a lot of freedom.

Obstruction #4:

• Leth stated that he did not like cartoons and had no intentions of learning the technology and process. Thus, he consulted with Bob Sabiston for suggestions. Leth reached out for additional hands for his project to cope with an unfamiliar mode of production.

Obstruction #5:

• Besides showing some nervousness, Leth coped well with the last obstructions—even happy.

What is the effect on the movies he produces? 

Each obstruction forced Leth to think outside the box and find innovative solutions which resulted in unique films that deviated from the original film The Perfect Human—it deviated from Leth’s clean, spare, and classical style. Furthermore, when comparing all five films, the style, mood, conditions, actors, and setting are all diverse and intriguing. Limitations can fuel creativity and lead to innovative outcomes. By imposing various obstructions on Leth, von Trier pushes him to think differently, adapt, and find new approaches to filmmaking. This highlights the importance of embracing constraints and using them as catalysts for artistic growth and exploration. The resulting films from The Five Obstructions were also able to utilize collaboration, artistic interpretation, and the subjective nature of creativity.

Additional notes:

General

• The Five Obstructions is a thought-provoking collaborative exercise between Leth and von Trier because it pushes the artist to utilize improvisation, problem-solving, and artistic innovation. It is very interesting to see how Jorgen adapts to his given conditions as a filmmaker and creator.
• This film is an observation and investigation of The Perfect Human in a white, empty room by asking questions such as “What does the perfect human think?”
• What is interesting to note is how von Trier exercises power over Leth in this film because Leth is 19 years his senior and also once his teacher. We can see how the perimeter of artmaking has expanded where power dynamics can be challenged and how this polarity can bring about new space for artistic expression. Furthermore, it shows the idea of this constant change in the artistic realm in which Leth encompasses the classical notions of filmmaking whereas von Trier possesses the art of obstruction due to his involvement in the Dogma movement—a new form of making. Therefore, art and filmmaking create a learning space. 

Obstruction #1:

• The short 12-frame obstruction subverts the technique of long takes.
• As Leth states, he cannot find his soft spots, “things that hurt”, to determine the next obstruction. However, this is good insight into one of the purposes of this exercise and why as an artist it can be meaningful to get out of your comfort zone to explore the world—not just to explore but also to explore with obstruction. When artists explore new horizons, they often fall into the trap of having unlimited agency to decide how and what they want to approach. Ironically, I think obstructions are a very useful tool for artists to grow and explore more freely. This contradicts the notion that limitations come with a lack of freedom. I believe that by making obstructions, an artist is less likely to be restricted by themselves which will allow them to adopt new domains.

Obstruction #2:

• Leth is confronted with empathy which subverts the distanced observer.
• The frame provided an image area—framing of reality— as well as distance which was “concrete and incredibly subtle and artful”. This is an example of how a filmmaker can playfully adapt to the obstructing conditions of this project. We, as students, can contemplate the incredible potential of using objects as a means.
• Leth had to onscreen rather being behind the scenes which also is a very interesting challenge to face when it comes to the art of making—the aspect of collaboration and transfer of power.
• Von Trier discourages Leth from pushing his boundaries when it comes to the transparent screen, and he states that “this is therapy, not film competition with yourself”. Thus, von Trier highlights a very important factor of being a filmmaking and creator which is the process. Sometimes the process of filmmaking or artmaking is more gratifying than the finished product. Furthermore, by abiding by these obstructions and disregarding the goal of a perfect film, von Trier states that through goad, new understanding can emerge. Thus, this suggests another way for creators to find enlightenment—through limitation.

Obstruction #3:

• The freedom of the obstruction subverts the traditional rules.
• Surprisingly, making a film with no rules from von Trier proved to be more difficult for Leth than having some. This shows the complexity of freedom and how there needs to be a balance of freedom and responsibility. Limiting free will is sometimes more liberating than having unlimited positive freedom. In the grand scheme of things, we are challenged in our understanding of free will: Is it easier to be controlled or be in control? Is freedom an obstruction to humanity? Viewers may ponder about the state of nature and the reasons why we have social contracts that assert hierarchy and rulers.
• Similarly, the two friends also discussed how they enjoyed the idea of things going out of control rather than being in control or being controlled. 
• Although in the final work, Leth presents a flawless film von Trier notes that all three films have not left a mark on Leth. None of the films have left a huge impression on Leth which is a pivotal aspect to consider when an artist creates their piece of work. “What do you take away from this project?” is a question worth thinking of as an artist.

Obstruction #4:

• Using cartoons, or an unfamiliar medium, subverts motivation.
• Leth consulted with Bob Sabiston for suggestions. This also shows more of the collaborative space of cartoon making.
• This obstruction ironically expands Leth’s scope because he has to encounter a medium which he has no experience with. 

Obstruction #5:

• Von Trier interprets The FIve Obstruction as a “Help Jorgen Leth” project. Through this project, von Trier wanted to explore the question “What is Jorgen?” By imposing restrictions, Leth could become vulnerable  
• The general aura of Leth, as I observe, has changed by the last obstruction. There exists a slow and beautiful transformation: Leth begins to laugh, smile, and wriggle. When one abandons, subverts, and challenges traditional notions, one can find the creative process energizing, provocative, and fun.
• Leth has always regarded the rules of the game as very vital—they are “limitations or self-flagellation”. Thus, Leth wanted to apply Leth’s testimony to Leth himself. In the last obstruction, we see von Trier “break” some of the rules which hopefully gave insight to Leth about what rulebreaking can entail.
• “As we all know, it’s the attacker who really exposes himself.” Von Trier wanted to see a mark being left on Leth, However, obstruction by obstruction, Leth is “happier and happier” and he continues to present his unwavering stance.
• “How does the perfect human fall?” 
• Why does von Trier decide to credit Leth as the director? I believe that this transfer of ownership or narrative is aimed to suggest that Leth had won the battle in the end. His humanness as a perfect human had proven indestructible. 

Final comment: Overall, I was extremely stunned at the attention-grabbing dialogue between Leth and von Trier. It gave a lot of insight into filmmaking and the art of making. It is a film that I wish to deeply reflect on more!

Anita Luo, Apocalypse, 2023, Audio

Proposal

John Cage suggested that “Everything we do is music.” Even in silence, one can find music—its presence lies in the sounds that decorate time. I intend to approach this project by exploring how sound can evoke certain human emotions and by experimenting with different ways of producing sounds to broaden the horizons of timbres received by the human ear to create an interesting and emotive piece of art.

Brainstorming

Inspiration & Conceptual Integration

I was heavily inspired by the examples given in class. For example:

1. John Cages’ experimental music 4’33” informed me that anything, even silence,  could be music. In other words, even in silence humans can find sound—vibrations—that give a moment in time life and meaning. In silence, John could feel the pulsing of his blood and the whistling of his nerves. Similarly, I’d like to create a soundscape that allows my audience to have their own unique conceptual and sound space to feel a sense of immersion and particularity.
2. Symphonie pour un homme seul by Pierre Schaeffer and Pierre Henry is an exceptional example of how one could combine human and non-human sounds to create a unique and eerie composition. I believe that this mixture of elements creates “dissonance” that is abstract to our human ears. It amplifies and duplicates the sounds to a level that is unfamiliar to us which creates an ominous but also vitalic piece of art. I would like to try this method in this project to evoke the emotions of fear and uneasiness.

Process

Step 1: Pick your memory

Decide on a memory that you want to pick as the subject for your Memory Soundscape project. When choosing, consider the memory’s potential to be turned into sound. Write 200 words that describe your memory and post them to your blog.

As the sun dipped below the horizon and darkness shrouded the world, my bedroom altered into a foreign space. Gloomy shadows danced on the walls, and the sounds of creaking in the corners reverberated. The familiar sounds of the house became eerie and unfamiliar. My heart started to race. I couldn’t shake off the feeling that something was watching me from the murky surroundings. The wind howled outside—I did not close my window. Vulnerable. I pulled the blanket up to my chin, seeking comfort and protection from the soft cotton. I was alone in my room—only my fear kept me company. My fear transitioned to a ring in my ears; it was scratching my ears like a violin. As I tiptoed out of my bedroom and ventured into the dark hallway, the house seemed to hold its breath. Every creak of the floorboards and flicker of light played tricks on my mind. Still light-headed from standing, I was carrying a bell that was my head. As my anxiety consumed me I felt a detachment from reality—as if I was falling into an abyss.

Step 2: Collect Sound Samples

With a Tascam audio recorder, I recorded sounds such as door creaks, wall cracks, wind, and ambiance (freezer buzz) that were the foundation of mapping out my memory. (Certain sounds were recorded with my classmates, Shahd and Cathy, such as the door creak and bells during class to save time outside of class for this project.)

Using the Tascam audio recorder was accessible and I had no obstacles in using it. I found that any errors during the recording process such as inconsistent dynamics or background noise could be easily resolved during the editing process in Adobe Audition with sound editing tools such as “DeNoise” and volume adjustor.

I recorded sounds that had different durations which ranged from 5 to 30 seconds.

Link to the Sound sample file

Step 3: 1-Minute Sound Mix

Before editing my final project, it is important to grasp the technical skills to share with the audience what I intend to convey. I utilized tools such as transitions, fades, panning (spatial effect), and copy/pasting. 

Through this exercise, I also found patterns, such as the violin near the end, that I could use in my final project. I also like the 2 different sections in the soundscape that introduced the concept of time and the themes of change, or heightening tension.

Step 3: Adjective Demonstration

To convey different abstract ideas, I learned how to use an array of sound effects including delay, reverb, noise reduction, and filters. One of the difficulties from this exercise was trying to find sounds that could create a cohesive composition. I found that using similar effects such as reverb throughout the soundscape could achieve this.

Link to experimentations

Step 4: Final Composition

Due to my experimentation in Steps 2 and 3, I had a general direction of where my final project was headed. Following along with my written memory I incorporated all the elements while editing the audio. I utilized the functions of “Clip Effects” and “Track Effects” in this step and discovered the many advantages of using them concurrently which include creating contrast and variety in the soundscape.

Additionally, I made a few adjustments after the presentation in class. Firstly, the soundscape ends abruptly due to the sudden cut in the heavy breathing at the end. Secondly, there was more rustling of the bed than I would have liked. Lastly, I did feel like the ambiance and vibrations at the end were strong enough so I also increased the volume.

Image of Audition

Initial:

Adjustment:

Link to final wav audio

Timeline

• Shadows dancing, wall crack, bed
• Violin – instinctual sounds, fear scratching in my ear
• Ringing in the ear – anxiety
• Anxiety causes muscle tension and changes in blood flow that can impact the structures within the ear
• Bells represent my headache – after standing
• Apocalyptic universe – surrealistic (childhood) in which you feel a sense of detachment

Adaptation Mapping

Initially, I wanted to end my memory on a more hopeful note in which the bells symbolized warmth and heaven. However, it was difficult for me to change the mood of the soundscape in less than one minute without having to cause any abrupt change—which could affect the audience reception negatively. 

Initial ending: In an attempt to reach the end of the hallway, I imagined warm lights and bells—images and sounds that brought me comfort.  As I approached the light and bells, I discovered the power of courage and the comfort of hope that broadened my surroundings and I knew that I could overcome any fear that came my way.

Thus, I utilized the bell to create a dizzy environment to convey the idea that the first person is disorientated. I like this plan more because it allowed me to delve deeper into how an artist could intensify a certain emotion or idea. In the end, I added a lot of reverb, delay, and underwater filters to create vibrations.

Audience Reception

At first, I was afraid that my composition was too simple and “clean”. However, my classmates such as Denny complimented me on the simplicity of my soundscape. The simplicity created room for better interpretation, consumption, and immersion for the audience. There was less emphasis on a storyline and more emphasis on emotions—which is probably one of the most important facets of an artwork. 

A few classmates also pointed out that my composition followed the criteria of the assignment perfectly as my soundscape had an element of ambiguity or abstractness which was appealing and intriguing.

Rationale

One of my favorite forms of art is one in which the audience becomes a part of it. I believe that Memory Soundscape was a great opportunity for me to execute this form of art with a unique medium like sound. What makes sounds a work of art? Laozi states: “The reality of the building does not consist in the four walls and the roof but in the space within to be lived in.” Similarly, the reality of sound doesn’t depend on the vibrations that propagate as a wave but the context, the memories, and the emptiness of the space that it lives in. The one reason why a soundscape of memories is striking is that the space in which the memory is encapsulated has something special to tell.

Anita Luo Contact Sheet Activity

Anita Luo Photo 1

Anita Luo Photo 2

Proposal  

After reading In Our Own Image by Fred Ritchin. I’ve come to realize the importance of using photography not to stop time but to track it; not to fragment space but to enlarge it; and not to tell an unmediated truth but to engage in a dialectic with human beings(xx, 125). We should take advantage of the “fluidity” of digital photography to challenge and explore our perceived reality and scrutinize the little details for the bigger picture. 

Brainstorming

During my time at home for the National Holidays I found an overwhelming amount of products such as water bottles, beauty products, and gadgets that my sister bought. I thought to myself: do we really need these? The most absurd product to me was the water bottle. As a South African, I grew up in a drought which made water bottles very valuable. However, in Shanghai, I found it lacking its highest purpose. What is its purpose?

Inspiration & Conceptual Integration

Consumerism

In South Africa, the desire for the consumption of goods and services is not so prominent compared to China. Thus, I wanted to present my perspective on consumerism and challenge its notion. As Ritchin suggests, I do not want to offer a truth such as “consumerism is bad” but to prompt the viewers to wonder about its implications.

Water bottles

I found that water bottles have a very unique shape to them and I’d like to change it’s shape in some way in the final composition.

The Mirror

Mirrors generally symbolize a person’s spiritual and psychological depth. They don’t just reveal our appearance, but also who we are on a deeper level—our truth. Generally speaking, mirrors represent a person’s depth of soul and mind. I would like to use the mirror I have in my home as a means to broaden the conceptual space within my still life—to leave more room to contemplate.

Process

Preparation: Practice

Useful learning resource: https://www.photopills.com/articles/exposure-photography-guide

In the following two images, I wanted to draw a parallel through similarity. On one hand, there is a scene of trees, and on the other, the metro train. This touches on the theme of nature versus manmade.

In the following two images, I practiced adjusting the aperture of the camera. The images were taken in an elevator. These photos are unique in that they carry an alternative space or universe. 

Step 1: Setting and Objects

Using an old white cloth and the water bottles I had at home, I set up a mini-studio and still-life setup for the activity. I intentionally twisted one of the bottles to create contrast within the pool of similar-shaped bottles. I also labeled each bottle cap to draw on the idea of marketing and labeling as well as to draw attention away from the brand of the bottle.

Step 2: Shooting and Contact Sheet

While shooting I also tried different placements. I created a photo contact sheet with the 36 stills that I took and printed it out as well as 2 photos that had the best compositions.

Step 3: Adobe Photoshop

I utilized levels, curves, brightness/contrast, and unsharp masks to touch up the images.

Audience Reception

The twisted water bottle adds movement to the composition. It feels as if it is moving towards the viewers. The blue bottles can also be a great color contrast to the pink handles on the metro train. Furthermore, the two complementary images in the elevator piqued the interest of the professor.

Rationale

Using different angles and editing, I was able to practice the manipulation of digital photography to embrace its “fluidity”. Photography can become a means for us to touch on aspects of our lives and engage in theory with the viewers. I intend to use the skills that I have gained in this activity for my Photo Diptych project.

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

The “fluidity of the digital” refers to the ability of digital media to be continuously changing(xii). Digital means such as digital photography can be easily manipulated through software such as Adobe Photoshop. Images become malleable for the artist to mold (xix). Digital imaging or digital photography is a good example of the “fluidity” of digital media because some form of manipulation occurs during the processing, compression, storage, printing, and display of images. For example, Philippe Halsman’s Dali Atomicus (1948) shows the use of manipulation to a great extent. In the image, there is the Dada and Surrealist artist, Salvador Dalí, and his painting, Leda Atomica (1949), which appears on the composition’s right side—suspended above the ground like the easel, chair, stepstool, cats, water, and Dalí. This image in no way depicts reality or gravity—water cannot curve, chairs cannot float and cats cannot fly. Fluid like the water in the image, the presence of the new digital technology allows the photographer to frame and edit a moment in time that creates a conceptual space and a momentarily newly defined reality. 

Fluidity does not only refer to the ability of manipulation; it can even refer to the form, specifically the mean, of the digital such as other media—text, video, virtual reality, and books. Fluidity means that the matter can take any shape or form that it is put in too.

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).

Photography’s ability to capture reality is limited due to its static nature. The extent to which the photograph can track time and enlarge space, as Ritchin puts it, solely depends on the skill of the photographer (xx). Thus, this makes photography’s ability to capture reality limited. On the other hand, virtual reality and even video can emulate a three-dimensional space, not just a conceptual space like images, because it can include mixed modes such as sound. This technology, unlike photography, can duplicate our senses which makes the experience more immersive. Texts and books can capture reality through emotive diction and imagery—word count is unlimited. Although photography can capture reality, it can only capture it to a certain extent and it requires great lengths and tools for a photographer to truly capture reality wholly without bias. Usually, more than two photographs are necessary to introduce concepts of time or storytelling into a work. Contrasting to this, other media like texts, video, virtual reality, and books have the greater and easier ability to depict limitless and unbounded reality.

Other thoughts

Ritchin concludes the importance of using photography not to stop time but to track it; not to fragment space but to enlarge it; and not to tell an unmediated truth but to engage in a dialectic with human beings(xx. 125). We should take advantage of this “fluidity” of digital photography to challenge and explore our perceived reality and scrutinize the little details for the bigger picture. 

Notes

 

Sources

Ritchin, Fred. In Our Own Image: The Coming Revolution in Photography. Aperture.

Anita Luo, Molecular Voyage, 2023, Photograph

Keywords: Consumerism, Mitosis, Watercraft, Birth of Inventions, Uncertainty, Voyage, packaging: Consumed in Consumerism, commute, materialistic lifestyle, Sigmund Freud: ego and id

Anita Luo, Machinery, 2023, Photograph

Proposal

Duality is a fact of life. When one considers cosmology and the way of life, one finds that there are always two sides to the coin—one side cannot exist without the other or harmony is broken. What can we find in this balance? I intend to depict this duality of our lives through a conversation of two images—a diptych. I hope that through the relationship between these two images, I can construct my own conceptual space and draw connections to reality. Using photography, I intend not to stop time but to track it; not to fragment space but to enlarge it; and not to tell an unmediated truth but to engage in a dialectic with others (Ritchin xx, 125).

Brainstorming

Inspiration & Conceptual Integration

What is the overall concept of the Diptych? What are you trying to convey?

We are consumed by consumerism. Through this photo diptych, I intend to develop my contact sheet exercise further to convey the emergence of the existence of consumerism. I would like the audience to ponder the impact of materialism and how it governs our day-to-day lives. The diptych should evoke emotions within the viewers and cause them to reflect on their own experiences with buying products or services. I do not intend to mock the materialistic lifestyle that many people adopt; I intend to give my observations and visually illustrate them through digital photography.

For the Diptych project, one cannot exist without the other. i.e. The existence of both images complete the project. One is only a partial information. What kind of conversation do the two images create and assist each other to convey the concept together? 

In the first image, I would like to shoot an external view of the water bottles. For the second image, I would like to shoot an internal view of a water bottle. By using the same object, there is a connection drawn between the two images —there is a similarity in the color blue. Furthermore, the first image introduces the second. Additionally, the second image acts as a lens for the first image. I intend to incorporate the theory by Sigmund Freud, which the surrealists adopted, about our “ego” and “id” which refers to our conscious and subconscious mind. The external view of the water bottle will be our conscious mind whereas the internal view will be our subconscious. Thus, the audience becomes a mediator who tries to resolve the tension between the two images—our conscious and unconscious minds.

What image(s) do you plan to take photos of? How do you plan to manipulate the image(s) using Photoshop?

I plan to take photos of water bottles. Furthermore, for my second image, I would like to capture the inside of a water bottle to encapsulate the concept of packaging and how this packaging has in a sense packaged us and consumed us. 

Adobe Photoshop practice

Practice 

Process

Step 1: Contact Sheet

To take more microscopic photos of the water bottles I used a phone. 

For better viewing click here: Anita Luo ContactSheet 2 

Step 2: Choosing pictures with the best compositions

I initially wanted to use a photograph from my contact sheet exercise. However, I unexpectedly took very interesting angles of the water bottle that had better elements. For example, “IMG_2814” looked like a microscopic view of the splitting of a cell in mitosis. Thus, I was inspired to incorporate more scientific elements into my project.

Step 3: Using Adobe Photoshop

I utilized levels, curves, brightness/contrast, and unsharp masks to touch up all the images.

I tested different blending modes to overlap images to create more atmospheric quality for my second image. I also added handles from a metro train by removing its background.

Adaptation Mapping

1. One of the challenges of capturing small subjects like the inside of the bottle was finding the most suitable equipment to take photographs. Due to its accessibility and my familiarity with it, I decided to use my sister’s iPhone Pro Max 14 to take the photos despite the fact that quality is not guaranteed. However, due to technology’s continuous advancements, I believe that the iPhone Pro Max 14’s quality could be comparable to a camera.
2. I decided to use a composition that was completely different from my initial intentions which were the composition taken in my contact sheet exercise.

Audience Reception

My classmate Shuyu said that she liked my inclusion of keywords to guide the viewers to comprehend the intentions and messages of my work. Furthermore, she enjoyed my take on consumerism by visually presenting the material subject, the water bottle, to suggest a materialistic lifestyle.

Rationale

Duality can be illustrated by using Sigmund’s theory of the Ego and Id. Molecular Voyage delves into the human mind and reconstructs it with material to highlight the consuming lifestyle of materialism and consumerism. We are consumed in consumerism and packaged into this multiplying notion. We are on this uncertain journey of invention and we need to consider its implications and our future. 

Sources

Ritchin, Fred. In Our Own Image: The Coming Revolution in Photography. Aperture.

Team members: Kaidi Wang, Calvin Wang, Anita Luo

Proposal

Ted Chiang’s Story of Your Life prompted me to wonder what other modes and methods of communication we can use and how effective these are when faced with the challenge of communicating with extraterrestrial beings or atypical entities. By creating my own version of the Pioneer Plaque, I intend to gain the skills of creating a visual representation that considers the influences of anatomy and cognitive processes of the viewers. 

A system that has influenced human culture to a large extent is the moon. Although the sun’s rhythm set the daily pace, early humans utilized the moon as a way to keep time beyond a single day and night. The moon was one of humankind’s first timepieces — even before the first written language and civilization. The moon’s phase changes became a reliable marker of time.

Brainstorming 

With my team members, we created a mind map to lay out the basic framework and requirements in our plaque. The main sections that we will include in our diagram are the moon phases, the moon’s orbit, the Earth’s 5 atmospheres, and the concept of time.

Inspiration & Conceptual Integration

In history, Pioneers 10 and 11 — NASA space probes — carried small metal plaques identifying their time and place of origin for any other spacefarers that might find them in the future. These metal plaques were called the Pioneer Plaque. Keeping in mind of the Heptapods’ anatomy and cognitive processes in Ted Chiang’s Story of Your Life,  my team members and I formulated a diagram that is in the same style as the Pioneer Plaque that looked at the notion of cycles and time in a non-linear perspective. 

 

We intend to use the Earth’s atmosphere so that we can place a satellite in the exosphere.

We intend to use the satellite in the exosphere as a way to show the size of humans in relation to the moon, sun, atmosphere, etc.

Process

Step 1: First sketch

My team members and I briefly worked on a sketch during class time to get a general idea of where our project was heading.

Step 2: Second sketch

We then considered the more specific details that needed to be included such as the concept of time and proportion. For example, we wanted to use dotted lines for the orbit to show a directional force or movement to the heptapod because they perceive things holistically. Additionally, we wanted to use the atmosphere as a way to measure how a human would fit in the diagram.

Step 3: First draft

With a few adjustments, we created our first draft that incorporated all the elements that we discussed before.

For better viewing please click here: First draft

Step 4: Second draft

After reviewing the plaque together as a group we found a few mistakes or minor issues such as the grey color of the second half of the Earth and slant sunray lines.

For better viewing, click here: Second draft

Step 5: Final adjustments

With the consultation of our professor, we found that the solid shading in the diagram was not aligned with the project’s requirements and thus we worked on our final adjustments.

Audience Reception

[In Progress]

Rationale

In this Pioneer Plaque, our aim is to introduce the heptapods to the concepts of Moon phases, Earth’s orbit and atmosphere, and the notion of time. Given the unique physiology of the heptapods, with their seven eyes and tentacles, they do not perceive information in a linear, directional manner — as we do with a conventional “front”. Instead, they process information holistically. To accommodate their physical structure, we present information on these various concepts within a single image.

The first category pertains to Earth’s moon phases. Scientists have categorized these phases as the first quarter moon, waxing crescent moon, new moon, waning crescent moon, last quarter moon, waning gibbous moon, full moon, and waxing gibbous moon. These phases are depicted on the outer circumference of the plaque.

Each phase possesses a distinct appearance, and they are separated by intervals of 3.75 tick marks, which serve as temporal markers for the heptapods. Since each transition from one moon phase to the next occurs approximately every 3.75 days, a complete lunar cycle spans an entire month.

Heptapod language and cognitive processes are non-linear and holistic, enabling them to perceive time differently and communicate in a manner that incorporates past, present, and future simultaneously. This non-linear perception of time and thought is a central aspect of their culture and language, playing a significant role in our narrative. In our pioneer plaque, we seek to convey the idea that, for us, time is continuous and cyclical, as represented by the flowing lines connecting the rings. Unlike their non-linear perception, we experience time as an ever-revolving cycle that repeats with each lunar phase.

Furthermore, we provide more detailed information with the dotted lines encircling the moon phases. The white segments represent daytime, while the dark areas signify nighttime. To ensure clarity for the aliens, we’ve included lines and arrows pointing toward the Earth at the center. 

As we move inward to the depiction of Earth at the center of the moon phases, we’ve added five circular lines, representing the layers of Earth’s atmosphere: the troposphere, stratosphere, mesosphere, thermosphere, and exosphere. The satellite orbits around the exosphere, which we’ve emphasized on the outermost layer.

To facilitate the heptapods’ understanding of the creators of this artifact, we’ve expanded and zoomed in on the bottom right-hand corner of our Pioneer Plaque. Here, we’ve included an enlarged image of the satellite alongside a human figure for scale. This conveys a sense of the size of the creatures inhabiting Earth.

Additionally, we wish to convey Earth’s position in the solar system, with two planets located in front of it and the Sun at the center. We’ve represented Mercury and Venus with two solid circles, with the smaller and closer circle signifying Mercury and the slightly larger, more distant one representing Venus. Earth follows Venus in this arrangement.

The final concept we aim to communicate to the heptapods is the significance of sunlight. Sunlight, traveling at the speed of light, illuminates all the planets orbiting around it. The fragmented lines emanating from the small dark point in the upper right corner symbolize the Sun emitting light. This serves to help the Heptapods understand that the Sun’s light plays a crucial role in influencing the moon phases on Earth, as it is only through the Sun that the Moon can cast shadows, giving rise to the cycle of day and night.