Painting to Life: "All Wound Up"

In my painting to life assignment, I chose the painting "All Wound Up" by Arleigh Schwarz. In the video, I'm working on a crochet project (a scarf) in my apartment. While I'm working on the scarf, I don't notice it being dragged away by my cat. As I get to the end of the yarn and reach down to grab a new ball I realize it's gone so I put the camera on my feet as I search through the house. I cross paths with my mom then get on the floor to check in the box (maybe I misplaced it) where all my yarn is. I see my cat so I go towards her and she just sniffs me. There is still no yarn in sight. 

I go to my bookshelf to really think about where it could of gone. There are these cat figurines (two of them salt and pepper shakers) sitting there right near my hand. While staring at the black & white cat figurines I get an idea--I may know where my yarn has disappeared to. So I continue my search through my living room to find my second cat. Low and behold, there he is playing with my ball of red yarn. 

This isn't every single type of angle/shot seen in my video, these are just some to show I meet the requirements for the assignment.

0:01-0:21 Pan upper to lower right

0:24 Tilt down, 0:31 Tilt up

0:46 CU

0:52 WS

1:11 P.O.V

2:31 Dolly in/Truck left

2:56 Dolly in

3:00 ECU 

3:09 OSS

3:19 MCU

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Visual Review 10: Beyoncé "Countdown"

This video sees the "Run The World (Girls)" singer paying homage to different movies, musicals and icons of the 1950s through the 1990s. Directed by Adria Petty, Knowles shows off her baby bump while dancing around in colorful leotards to this upbeat love anthem. Most of the effects in this video were applied after the music video was shot. The video has faced controversy for ripping off choreographer, Anne Teresa De Keersmaeker, and some of her pieces.

The video opens with a close shot of Knowles as she begins to sing the song. Her hair and makeup are reminiscent of English model, Twiggy. A lot of the effects used play with the coloring and the lighting seen throughout the video. The next shot is a full body-shot of Knowles moving her arms like a clock. The clip here appears to have been sped up. We have simple black and white lines falling into and out of the frame that serves as a background image. The black and white is also reflected in her outfit she is seen in. The video then splits into multiple frames as Beyoncé begins to countdown in her song. The video cuts between mid-shots and fast moving, slim frames showing her full figure. Then we are shown the black loafers and white socks (referencing Michael Jackson) and the dance moves are similar to that of Audrey Hepburn in the film, FunnyFace.

A lot of the post-shooting effects added are cuts of Beyoncé in bright colored bathing suits. She also wears a black and white hat and these shots are set against a colored background that constantly changes. In this mid-close ups Knowles showcases her baby bump. This frame then splits in two, again. Then we are taken to an audition space--the entire video is shot in a New York warehouse--where we are shown wide shots of Knowles and her dancers referencing the 1980's movie, Fame. We also see symmetrical shots where there are two frames created showing the same image, and as she turns and as the dancers move, we see two bodies moving towards the center.

One of the next scenes is a extreme wide shot of 10 different versions of Beyoncé dancing to the countdown in the loft space. While researching for the video, MTV Newsroom stated that this shot is "the key scene where [she] puts all her aforementioned sides into perspective" (MTV). Throughout the video we stick with this mod, black and white color scheme seen through the background, clothing and space of the loft. Then we are thrown splashes of vibrant colors reminiscent of the 60s. Among the many references in this music video, we have yet another when the video cuts to shots of Knowles in a men's dress shirt with her hair tied up with a scarf: Bridget Bardot. These shots contrast well with the soft colors used in the background and from the dress shirts. These wide shots are split and fall out of the scene to take us back to the wide warehouse audition space. Channeling Diana Ross from Dreamgirls (more post-shooting effects with the double frame meshed to look there are two Beyoncé's. This shot is also split into three frames where we have lines moving in the background, again staying with the black and white color scheme), snap choreography reminiscent of West Side Story, and finally more wide shots of dancing around the loft space with the off the shoulder top taking us back to Flashdance. Fast moving frames and close-ups of the singer are basically the entirety of the video.

There are rarely any actual camera moves except for the ending--it's hard to tell if when she's sitting in the chair if the camera is doing a dolly-out or if it's more of a zoom-out. The camera is pretty static throughout. This music video relies on the visuals, movement and looks of the singer to really pull it off. I think despite the controversy that it was a success.

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Visual Review 8: "Dollhouse" Title Sequence

"A futuristic laboratory assigns different tasks to its various residents, who then have their memories erased upon the completion of their assignments." (IMDb) This short-lived TV show aired on FOX in 2009 and was created by Joss Whedon.

In the beginning of the title sequence, we are shown a wide shot of a cityscape. Which plays with shadows showing nighttime, and the only source of light coming from windows of the buildings. There is motion blur here with the cars and the lights. Probably a post-shooting effect was added to speed up time.
     Lines are made by the city which shows us linear perspective. The composition of the city doesn't end in this frame, the city goes on as we see the sped up cars going further into or away from the city. The different shots fade out to white and have this flash like effect that brings in the next shot. For the entire sequence, there is this dream-like glow.

     The sequence to this show follows the main character, Eliza Dushku (Echo). We are shown low angles. There are post-shooting editing effects of costume changes within one frame. This symbolizes Echo's (Eliza Dushku's) transformations of different characters and personalities.

The text of the actor's and production team's name are in this small white font that also has a glow/tint to it. I think it fits into the theme of the sequence. The text is also small to make the viewer pay attention to what's happening on screen, that's why the font is also very plain, yet it in all caps. It's very simple.
     There are continuous lines created by the city. Many objects and people are falling through the shots as they go about their lives. The camera lens used for the daytime city shot (Tilt shift) gives us the impression that we are world full of dolls. This wide shot really brings in the color scheme. It blends the colors to this grey/green tone. The colors are soft making it look like everyone is the same, wearing the same thing, but they're not.
     Text not related to production is bracketed as we get a close up of Echo (Dushku). Again, the colors have this grey/green tone and effects were added (after shooting) to make the close up look like a security camera. The red bracketed text ([Active Located], [Active Engaged]--the active being Echo) is the put the viewers into the scenario that these "dolls" can always be found. The red text contrasts against the soft, blended colors to make you notice what it is and to try and dissect what it means.

High angles are also used with this repetitious glow and soft blended touch on normal colors and textures like wood to take us away from reality. Scale appears to also be a repeating element in everything shown. Our eyes are drawn to the center of the frame in most of the shots. The center is also always in focus, where as the edges may have this soft glow that's not as in focus.
     We are taken away from the blended greens for one shot to vibrant greens shown through the trees (still staying with the color scheme). The shadows and light frames, giving the sequence an ethereal quality. The music used throughout the intro also fits in perfectly with what we're seeing and with the dream-like theme. Contrast is given through the color tones and with the red text tracking Echo.

The layout of the ending frame was a deliberate design choice, I think. The circle with 5 points can look like an eye to some viewers, or like a star. It's not quite symmetric but the point at which the objects (eerie beds for the "dolls") are placed is even. Especially the text of the creator's (Joss Whedon) name. The text falls directly in the middle thirds of the screen. Joss Whedon's name is in bold, yet still small. The "Created By" text is even smaller, drawing the eye to the most important text--his name. Again, I think with fans there is recognition that "Oh! We know who Joss Whedon is", so that's all we should focus on. If it were a show by a creator that people have never heard of then I'm sure that the "Created By" text would be larger. Joss Whedon has already established himself as a writer/creator/producer/director so, I don't think it was as necessary to place emphasis on that part.

I thought Dollhouse was a great show. Unfortunately, it got cut before it could really begin.


Sources: Video via Viddler, Images via Pinterest

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Video Scavenger Hunt

Fellow Group 2 Members: Lindsey McCabe & Lauren Ramon

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Visual Review 6: Target '11 Christmas

I chose this because it's one of the very few commercials that I can remember that made me laugh. Whenever you mention "Crazy Target Lady", everyone knows who you're talking about. This video is very basic. It doesn't have a lot of camera movement nor does it rely on to many effects, or various types of camera shots/angles for comic relief . This commercial alone relies on the actor to really sell Target.

It reminds me of when we were talking about the Some Like it Hot train car scene. It's obvious that this wasn't shot in an actual Target store because in order to physically see her go down the card isle, you would have to knock the isle down. For most of the duration of the commercial the camera trucks from left to right with her as the woman travels down the isle. There are medium close-ups as we see her singing into the audio cards and recording her voice. This camera shot is effective for showing her facial expressions which gives comedic relief.

The camera cuts between medium close up shots of the woman, and as she sits the card down on the isle the camera shows us a close up of the card she puts down. As she finishes her Christmas jingle, we are given a long shot (not wide--probably to create the illusion of being in Target with long, narrow isles) as she pushes her cart off and exits.

The color choices are good, in that they reflect the setting of the store. Her bright red dress fits her enthusiastic-Christmas-spirited character and contrasts well with the surroundings of the store. This season works with Target well as it not only promotes the Christmas holiday but their corporation--associating it with the red color. I think this commercial is clear in promoting the product and selling it, the point comes across clearly, it’s not too long and we establish this character that we see again in future commercials.

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Visual Review 5: Nikka Costa "Like a Feather"

Nikka Costa is an American singer-songwriter who fuses funk, soul and blues into her music. Costa’s “Like a Feather” single first premiered in 2000 in a Tommy Hilfiger ad, which jump-started the singer’s career. Her debut U.S. album Everybody Got Their Something was released in 2001.

The video begins with a wide shot of what appears to be a stage or studio. This video has one setting for the entire duration. The background is a digital screen that will project geometric designs along with Nikka’s name throughout the video. We have medium close up shots of the singer as she begins singing the song. We have contrast with the red designs on the screen and her blue ensemble that also contrasts against her red hair. 

The shots then are split into four multiple frames all showing the same thing. It’s almost reminiscent of the “Brady Bunch” opening sequence. Identical frames are stacked to create four small blocks. These blocks are also divided into two half’s where the left side shows a wide shot of Nikka and the right side shows a mid-close up of her on the microphone.

We have some low angles, not extreme. And consistent throughout is the mirror-like effect where the shot becomes symmetric. Two Nikka’s are shown on the screen side by side dancing. We have cuts back and forth between symmetric shots and the four stacked frames with wide shots and then medium close ups. Then we’re shown the same frame stacked on top of one another creating this stack of blocks large on the outside and that are smaller towards the center. 

There are more symmetric wide shots with the screen split in half, cutting to Nikka’s mid-section. Wide shots are combined with the stacked frames and become smaller wide shots that show her full frame. I liked how various shots are lit and then others are in the dark. For most of the video, the light fills the entire set but for certain sections of the song, the light is only coming from the digital screen in the background.

There is a quick extreme close up of Costa’s mouth through a lens in the shape of a circle—it’s not fish eye. The effect with four stacked blocks evolve from showing the same shot to playing one simultaneously after the other in rhythm with the music. The camera editing cuts back and forth between the mid close ups and then to three thin frames of Nikka. Profile shots and medium close ups show again her singing at the microphone. We have a few high angle shots while the lights are out and the stage is only lit by the screen and an EWS from a high angle. 

After the first verse it’s pretty repetitive—which I don’t think is a bad thing. We have continuous shots switching from multiple frames to wide frames. There are no dolly-ins or even panning which I found to be interesting. The camera stays in one position throughout. I think that works fine because with Nikka’s moving and the flashing going on in the background it would have been too much. The video has that geometric shape/seventies design going on where the patterns are shots of Costa singing which I thought was cool and brings out the red and blue colors well. Effective use of light and shadow towards the end where again the only light source is from the digital screen but you can see Costa’s silhouette and those blue and red colors look nice against one another. Towards the end there are some extreme low angles towards the bottom giving off the effect that the camera is flat on the ground. 

I personally love the effects put on the video. It adds to the fun nature of the song and really enhances the beats and sounds that are heard throughout. The dancing/movement are synchronized perfectly with the flashing images and I think the creative team did a good job choosing colors and the setting. I couldn't imagine this video shot on location in a street somewhere. The video compliments the song perfectly.

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Lumiere Project

With Lumiere video assignment partner, Laila via littleladylemonade

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Visual Review 1: Mac 'n' Cheese

Mac 'n' Cheese from Mac 'N' Cheese on Vimeo.
In Mac 'n' Cheese, we are taken though this "trippy" journey as one man tries to outrun their opponent. Basically these two guys "stop at nothing [to]...wear each other out and rip through boundaries hitherto unbroken" (Vimeo).

The characters and scenery throughout the short are in 3D. The images aren't flat and for me it brings back memories of Pixar films. 3D being a characteristic usually associated with the film company. The animation isn't your typical Pixar 3D movie because in moments where I'm able to pause the video it looks as if a 2D painting has come to life. I can see brush strokes and different colors use to form the skin tone of the characters. The characters are drawn vividly so that they stick out to and so that their emotions and facial expressions are defined and noticeable. The colors are muted, toned down to add to the setting of the short. There is motion blur throughout the chase and the colors are changed to reflect speed/motion. The cold effects put in throughout the tunnel are used to show them underground without the picture going black. There is light fog almost in the air when shots of the sky are shown and light from the sun is reflected onto other objects in range.

Wide shots are used throughout to show the chase, when the two guys are on top of vehicles. We have low angles to show the mountain sides and high angles to show the highway before the first man even jumps onto the car. A lot of elements from this short are typical of your average action movie. We have quick camera cuts from the one being pursued and the one doing the chasing. Shots cutting off the lower or upper body. The split screens that show the facial reactions of opposite sides at the same time remind me of an older action flick almost a Tarantino-esque sort of thing. Also very common in action films or any chase are the slow motion frames/freeze frames where we go inside the mind of one of the characters as they slow down the moment to think of something to do quickly. Fade to black shots, or empty frames every other second during the chase were in synch with breathing. The camera angles don't change or turn to match up when the man being pursued starts to trip on drugs. We see his world being turned upside down but we don't, as an audience join him until we are in the chaser's p.o.v.

I was highly entertained and felt like I could watch them continue the chase when the short film was over. It has all the elements of a good action flick and the music brought me even more into the scene. I definitely enjoyed the ride.

Source: Vimeo

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