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September 30, 2008

Jordain Chinander Project 1

Media Mill Video

Arts 1601: Time and Interactivity
Jordain K. Chinander

Project 1: Animation

My initial ideas for this project underwent several changes and eventually evolved into a completely different concept than the one I had begun with. This project was created using a collogue technique with multiple visual elements. I also incorporated two computer transitions as well as four of my own transitions using newspaper imagery. The concept of time was played with by utilizing both multiple quick clips to show energy and urgency, as well as prolonged slow clips to show importance and boldness. I feel that the overall final product was a success, and though extremely time-consuming in it’s making, I had a great deal of fun composing it.

My initial idea was to be a film in which a live character would interact with a drawn figure. This idea was abandoned however because the complex nature of this concept would have proven to be too difficult to create in the given time to complete the project. So after some thinking I began to gravitate towards new ideas. I eventually decided to make a comedic animation that played on the cliché of old Godzilla-like monster movies.

I struggled at first in trying to decide upon the right form of media for the project. I thought about having drawn images, using still photos of real-life characters, and even clay animation. Unable to decide upon which format I liked best I settled on doing a collage styled animation. In choosing this method I was able to use my own drawn images of a giant monster, I incorporated still shots of my fiancé in our apartment, and I also used cut out magazine pictures and still photos of cityscapes and military vehicles. I was somewhat perplexed at first as to how I was going to blend them all together into one animation, but as I proceeded the elements all seemed to fall into place.

For the trick requirement I placed two computer made transitions as well as a few of my own. I also included a scene where a real-life character interacts with a drawn one in the apartment scene in front of the window.

I played with time by have some scenes composed of multiple quick images, like when the monster is trampling the city, and having slower ones, like when the real-life character sits before the monster outside his window. There are scenes even slower yet, like the ones with prolonged shots of people running through the city. I chose these shots to be slow and long to emphasize the importance and desperation in those particular moments in the animation.

I feel I must speak a little about my choice to not use sound. I wanted to have the imagery and actions of the animation speak for themselves. I also wanted the chance to add in text to create an added comedic element to the project. I feel that this was achieved in the project nicely.

The project was to me an overall success and I feel very proud of my work. I spent countless hours creating it but I feel that it was a small price to pay for what I have to show for it. I feel I met all the requirements and brought them together in a fun and unified way. I am excited to see what the next project has in store for me.

September 29, 2008

how to pdf's - exporting animation and Media Mill

setup and exporting QuickTime for project 1
Download file

Instructions for Media Mill
Download file

Emmanuel Project 1

Media Mill Video

This project was a great learning experience as far as developing a concept for a short animation, and learning how to deal with and resolve the issues that arose during the shooting of the animation.
Off the bat I realized that I would have problems with my original project proposal when I could not find black chalk at three different art supply stores. This prompted me to buy children's sidewalk chalk, which is low quality and difficult to make smooth marks with, which I realized once I began to try my first animation sequence. I still wanted to use the method of animating on a cement wall, but I realized with the amount of chalk it took per frame and the poor quality of the image I was going to have to rethink its use for the entire project. I resolved this issue by using a short, relatively easy animation at the beginning of my movie, which is an interaction between a snake and a spider. The snake eats the spider, and with a bang a bucket of water is splashed on the image that serves as the transition to my next medium.
The initial sequence between the snake and the spider inspired me to approach the theme of “Predator & Prey,? which ended up becoming the title to my movie. I wanted to show a variety of 'predators' and their 'prey,' but have these be unconventional predator/prey stories. Instead of the cat and the mouse, we have the snake and the spider, etc.
The second scene then was to portray the screw and the screwdriver. I decided to switch to a more traditional medium for animation, which was a pencil drawing. This was the fastest and easiest scene to animate, which involved drawing and redrawing on a single piece of paper, and erasing the previous drawings. I found the effect rather pleasing, as it gave a sense of the time passing, or a sort of 'motion blur' effect. The screw morphed into a 'Frankenstein's Monster' stick figure, which was the transition to the last prey, the marionette-man.
The last scene was animated using three dimensional objects and moving them one part at a time through space. It was the scene that took the longest to shoot, because I wanted to have a much faster frame rate throughout the scene, to give the 'real world' scene the closest frame rate to real time.
Once I assembled the frames and durations I scored the movie, which was a first for me. I enjoyed the challenge of matching rhythms and different notes to emphasize various parts of the imagery. I used the same three instruments throughout (drums, bass guitar and violin) to tie together the three scenes. However, the score really emphasizes the differences in animation throughout the movie, as some images are tied closely to the rhythms of the soundtrack, while others flow more organically.
After scoring I tweaked some of the visual time line, and added black “blinking,? which I feel gives the viewer a sense of watching the material through someone else's eyes, which tied together the feeling of my presence in a lot of the shots, which include my shadows, arms, reflections, etc.
In the end I really enjoyed my project, and while the aesthetic is not necessarily that of a polished professional, I feel it reflects the learning process that occurred in working this project out.

Amy Project 1 Final Writeup

Media Mill Video

My stop motion animation project focused on the story of two Rubik’s cubes symbolizing on-stage rivals. Rubik’s cubes were chosen because of their potential possibilities. I wanted the story to parallel a traditional theatrical performance. Therefore, many of my ideas and final elements are pulled from existing knowledge of a stage performance. For example, the project begins and ends with a red curtain rising and falling. The spotlight element is incorporated, as well as the typical stage bow pre-performance. Finally, I tried weaving in usual theatre sounds to further convey the stage setting. For instance, before the curtain rises, I have lobby talk playing. Additionally, applause is used continually in the project.

In order to give the impression of a stage setting, I used a black bookshelf. The bookshelf provided the proper height, width, and depth to correspond to the size of the cubes. Then I placed it against a wood desk to give a consistent and realistic background. The curtain effect was created using a red shirt rolled and cinched on a tube. This allowed for incremental movements and for the curtain shape to photograph properly. Throughout the shoot, I worked with four Rubik’s cubes. Two were colored while the other two were black. To make them black, I individually peeled off all the colored stickers as the color showed through when painted. A lamp was used to illuminate the stage, while the spotlights were created using yellow construction paper. To give the effect of the Rubik’s cubes turning on to their sides by themselves, I placed different sized items underneath them to incrementally raise and lower them. Additionally, I needed to alter the camera angle to a top-angle during each trick sequence so the items propping the cubes would not be seen. The sound used during the project was found online. In order to blend certain sound effects, cross fades were often used. Sound effects were layered as well.

The project was meant to be comedic and fun. However, one could argue that it explores the prevalence of competition in our culture. There is a need in our society to be the best at everything we do. Even in our childhood games, we have clear-cut winners, and ties are generally not acceptable. This relation can be seen through the combination of a common childhood toy, the Rubik’s cube, with the competitive plot. Furthermore, the rivalry was intended to also symbolize the rivalry between siblings. I attempted to convey this through the use of particular sound effects. Besides the applause, there are two human sound effects. One is meant to represent the older brother, while the other represents the younger brother.

September 19, 2008

Amy: Mark Beasley Response

Mark Beasley is an independent curator, writer, and artist. He is based in both New York and London. As a curator, he puts together contemporary art shows. These shows are usually thematic-based and free form, as he values thinking out of the box and breaking traditional systems. Some of his recent works include Beasley Street, The Thinking, and Hey, Hey Glossolalia. Beasley also contributes articles to publications like Dot Dot Dot and Frieze. His role as an artist is played out in two ways. First, he is a maker of contemporary art. Based on his examples, this includes media such as printmaking and video. Second, he is a maker of music. As a child, he was in a lot of bands. Beasley explains that he always manages to return to his love of music somehow.

As previously mentioned, Mark Beasley’s projects are normally thematic-based. While he covered many projects, there was one project that Mark Beasley curated that stood out. This project was part of a Creative Time project, called Six Actions for New York City. The project consisted of henna tattoos on volunteers’ foreheads that lasted a month. The tattoos read, “Everything will be taken away? backwards. Volunteers were instructed to write down what they thought whenever they were able to read the tattoo in a reflective surface. This project was centered on the idea of personal introspection. I feel the ultimate goal was to wrestle with the idea of loss and the complicated human emotions connected. Furthermore, the tattoos themselves were the epitome of a relational project, as they blurred the line between artist and audience roles for the volunteers.

One comment by Beasley I found compelling was the importance of the relationship between the curator and artist. I interpreted this comment as Beasley trying to illuminate the significance of interactivity and mutual understanding in that unique relationship. Likewise, he grappled with what ownership meant for artists and curators. This stood out to me because of his dual role as both an artist and curator. On a deeper level, I believe this comment really showed his personal struggles of where his place is and should be in the art world. Beasley even stated that as a curator, it made him want to continue making his own art, showing the constant back and forth in his life.

The presentation was extremely entertaining. Beasley was a great storyteller and kept the audience engaged. On the other hand, I felt the stories were more focused on other artists’ motivations for projects rather than his own. I would have liked more insight into his motives and a more thorough background on what he actually does each day. Furthermore, the lecture needed an agenda. I found the hour confusing organizationally and would have appreciated a brief road map beforehand.

September 16, 2008

Sample Storyboard Examples
(sorry guys I forgot how to turn this into a direct link)

Brett Westgor: project 1 proposal

My stop-motion animation is focused on a short story involving a lazy penguin. The movie starts out with the lazy penguin asleep on the ice. As the sun in the background rises, the ice begins to melt. The ice then cracks off and the penguin is left floating away on an iceberg. When the penguin wakes up, he realizes that he is lost out at sea and can’t get back home. He picks his hat off the ground near where he fell asleep.
As he is about to put the hat on over his head, a bottle falls out and knocks him on his head. The penguin becomes confused and looks into the hat. He then begins to pull random objects out of the hat. As he pulls all of these random things out, he can feel he’s getting deeper and deeper into the hat. Soon the hat becomes empty and he decides to crawl into the hat himself. He begins to crawl into the darkness of his hat.
After a short period of time, he sees an opening of light. When he finally gets out into the light, he realizes that he is inside a large killer whale. He quickly notices that he somehow has his hat on his head and pulls out a large stick. He uses the stick to pry open the whale’s mouth and jumps out of the water. He lands on a chunk of ice and soon finds out that he is back on the same iceberg in the middle of the sea.
One of the two main tricks in the story is how he begins to pull stuff out from his hat. The other main trick is how he crawls into his hat and ends up inside a killer whale. I believe the best way to create this story is by drawing pictures. If I set up a tripod, I can put a camera up and take still pictures from that. The background does not change often enough to where I should need to make multiple sheets. I feel using a large sheet that I draw and erase on will work best for my project. I like drawing random cartoons and I think this will be a great way for me to bring some of my cartoons to life. I have no yet decided if I should work with sound effects, music or both. I think after I’ve had some time to dig into the project, many ideas for sound will be running through my head.

September 15, 2008

Swan: project 1 proposal

I am going to make a piece based on themes of identity, self reflection and growth. Using photos digital and still photos to demonstrate processing memories and periods anxieties. I want to have a dream sequence using collage cuts combined with collage back ground or photo backgrounds. I would like to juxtapose periods of self reflection as stills and video as moments of growth.

I am going to use storyboards to help me plan out the ideas and prioritize areas to film. I plan to further explore the editing software to highlights the themes of growth and reflection.

Dane: Project 1 Proposal

Project 1: Dane Thomforde


My stop motion animation project will be executed through the use of a dry erase board and dry erase markers. The story revolves around a character, who isn’t really anyone in particular, going through his daily routine. What makes this interesting though, is that the animator helps this character through his daily routine by altering the world around him. This could be thought of as what I would sometimes like life to be like, being maleable and bending completely to my will. By creating situations that seem to be normal drawn images, then changing them through the use of an actual hand forcing these drawn lines around this gives a different feeling to animation that I have not seen much before, and want to try.
Creating this strange feeling is going to be an interesting experiment, I have not tried anything like this before, but hopefully I will be able to find resources which will help me translate these ideas into actual footage. The tricks I plan on using could be described in this manner, for example, if the character is walking down the street and it begins to rain, the animator could make an appearance, just his hands, and move the clouds to stop the rain. This works by making a line and putting my hand on top of it or near it, creating the illusion of actually moving the line with my hands.
The plot revolves around a singular character, and his actions and routine on one specific day. He gets up, goes to work, goes out with friends, and goes back to bed. I want it to appear as a normal routine, but it will not look normal at all, I want it to look supernatural. Technically, all the drawing will be done with a dry erase marker, and there will be no props except my hands which will make appearances at various points. One technical aspect that I will be paying great attention to will be the lighting. I do not want to see light reflecting off the board, I want it to appear as though there isn’t even a board, just lines in space. I have encountered some great examples of the kind of work I will be creating, and along with this post I will attach some links.

Sample Storyboards

Alexander: Project 1 Proposal

Stop Motion Animation Project Mouse in the House The idea behind this
project is a story about the age old clash between nature and humans in a
relatively comical view point. The story starts out when I discover a mouse
hole whilst moving in. Despite some apprehension I move in. While sleeping
you here activity in the background. Waking up I find some food near the
hole. Not being one to simply let an infestation go unchecked I try dealing
with it. A couple scenes pass by indicating various simple and failed
attempts to capture the mouse.

My friend and neighbor tells me not to get so hung up on this. That night
he himself has an experience with the culprit making a lot of noise behind
the wall next to his bed. Infuriated with his sleep being interrupted he
decides to assist in capturing the mouse. The devices are more elaborate
and silly, yet to no avail. However, that night the mouse emerges for the
first time and finds a see of traps to deal with. Knowing where it’s not
wanted it packs up and leaves.

One of the tricks behind this small sketch is day and night. During the day
we are active and the mouse hides from us. Yet, at night, the mouse is in
control and exerts it’s inadvertent influence on our moods. The conclusion
occurs when we “take control” of the night.

The second concept behind this is human intelligence. Represented are a
variety of random methods for trapping the mouse. Given it’s a simple
animal you’d expect a greater degree of success, yet we fail to capture it
despite the combined efforts of two supposedly higher beings. However,
simply by overwhelming the mouse with traps we drive him away of his own

For the trap sequences with changing angles and positions. Their screen
time will be relatively brief, to get across the idea of heavy activity.
Sleeping sequences I’ll use long shots with the camera staying in one place
and the objects/people changing positions at a slower pace. This hopefully
gets across the feeling of rest with activity (The mouse acting) in the

The project’s medium will primarily use still photography for most of the
shots. Concerning the mouse; no, I’m not going use a live animal. Instead,
limited Flash animation to represent the mouse and its behavior in a
cartoonish manner will be used. As far as cartoonish goes, think the old
live action Batman tv series with those drawn sound effects adding flavor
to the action.

Sound will involve minimal dialogue to add emphasis to people actually
talking. Music will be relegated to specific moments, like at night and the
conclusion. Sound effects will certainly be used, hopefully like some sort
of Looney Toons episode.

Emily: Project 1 Proposal

I have decided to change my initial proposal to something completely different. After a lot of thinking, I have decided to create a story using photography to display an animated dance-off between me and Jello. The series will start out with and introduction titled "dance off" "me vs. Jello" and various information to let the audience get an idea of the basic concept. I will be using stop-motion photography to display a fluid animated movement of myself and then the jello, bouncing back and forth between the two to give the illusion of a dance-off or competition. Music will change at each series change. Meaning, each time the focus switched from me to the jello, or jello to me, the music will change to create a dynamic of difficulty and competition. I will also use varied time intervals of photographs to show slow-motion and fast-motion contrasts between dance moves. This will create a matrix type of appearance at times and give the dancing dimension. Using different colors and molds of the jello, for a trick, the jello will appear to change drastically at times and take on a life of it's own.
In the end, I chase the jello and decide that eating it is a much better idea. After a Hectic chase, I finally catch the jello, and gobble it down. The final scene series will end with a happy me, and the jello saying "yay" from my belly. Which I will try to animate using a trick by holding a drawing of jello in front of my belly as if to have an inside view and to display the written word "yay" on the side like a comic book script to show the jello actually displaying an audio representation without the actual use of it's sound.

Jonathon: project 1 proposal

I'm feeling pretty casual this morning, so here's to wishing whoever reads this a good day. It is a blog after all.

Over the last few days I've been gathering a handful of ideas, and have came close to what I'll probably use for my project. I have a solid establishing and finishing scene, but the middle plot needs some work. Here are my ideas:

When I was thinking of stop motion movies in general, I couldn't help but feel that the claymation concept is either horribly dated, or if it is used, needs to be lampooned. So, with that idea in mind, I wanted to establish my movie with an intro shot of a small clay figure walking down a sidewalk alongside some backdrop, most likely a house. After a few seconds the scene will shift to a man at his desk.

The second sequence will involve a story about a man's journal, and how it has aided to assist the man through the trials of life. The only reason I have apprehensions about this concept is that it is inherently more somber, or at least serious, compared to my intro shot. I haven't worked out the transition yet.

The story will involve a basic guideline of establishing nuisances in photo, then showing a man in angst consulting his journal. As the timeline progresses, each time the man consults his journal there will be another person standing by him attempting to aid him. Eventually the room will be full of people, words, and ideas, that will ease his weariness. As the shot comes to a close the man will get up, noticeably happier, and turn of the light. As it fades to black, the shot will switch to the clay man on the street.

Now in the outside scene, the clay man will continue to walk down the street for a few seconds before the shot pans out. The shot that contained the clay man will, now that it's in a wider angle, reveal a door along side the house to the left. The man from the journal plot will step outside, still in stop go animation. The shots will then speed up until the film switches to 24 fps right before the man steps on the clay figure. In a live action shot, the man will then look down scrape or brush of the clay (brown with red innards) and continue walking down the sidewalk. Cue credits.

For the fabrication of these ideas, I intend to use Final Cut Pro, Photoshop, and maybe Adobe Flash. If time permits I will also probably include a music score, either from GarageBand or from pieces of non copyrighted classical music.

Emmanuel: Project 1 Proposal

While thinking about this project I have decided I would like to perhaps portray an object moving between the 2 dimensional world (a flat piece of paper, a wall, the floor, etc) to the three dimensional world. Maybe a drawing of a person would become a real person, or perhaps a painting mounted on the wall would emerge from the frame. I think the subject would be challenging in figuring out how to accomplish a well thought out transition between these two mediums. The story I imagine begins with the 2 dimensional object, maybe moving slightly, and progresses to its escape to a three dimensional world. The object, whether it be a person, animal, inanimate object, etc., would explore its new surroundings and then retreat back to the two dimensional space, accompanied by funny sound effects of course.
I think the tricks I would use for this would be on the more subtle side, as far as they would mostly be fade-ins and outs, and perhaps different changes in the frame-rate pace to accentuate different moments in the animation. I think I will shoot for more subtle tricks simply because I want the subject or story to hold more of the viewer's attention than the “dazzling? animations. The story is a simple one, dealing with exploration of a new place, and I would like to maintain a simple aesthetic. The transitions I think will help me to convey a sense of time, as well as speeding up the frame rates will add urgency to specific moments, such as the leap into the three dimensional space.

As for the logistics of creating this project, I think it would be interesting to create or use a painting, and model a sculpture of an element of that painting, and use various animation techniques to try and merge the two into a single object during the animation. I will probably use something pretty easy to work with and to move, such as cardboard, simply because I do not want to make various plaster-casts or clay figurines for each frame, but would rather have one object which is mobile and can be posed in various ways. I plan to cut together the pictures and then score the animation afterward, or at the very least add sound effects to add another layer to the experience of viewing the movie. I don't want it to be too serious, and hopefully it will be a least a little humorous.
While brain-storming this project, I searched for inspiration, and came across a video by and artist named Blu who did a particular stop motion animation entitled “Muto? ( painted along a wall outdoors. If possible, I will try and find a place where I too can use an outdoor wall, as I really enjoyed the interaction between the animation and the physical environment... Although something tells me it will be pretty difficult to find someone willing to have me paint all over their walls.

Kaonhou: Project 1 Proposal

For my first project, my story will follow a girl as she tries to protect her best friend from an evil spirit. Her attempts fail and her friend is spirited away. She then ventures to the Spirit World to bring back her best friend. In the Spirit World, she experiences and sees many strange things, and finds out that she must travel to the Spirit Court and plead her case. If her case is valid, the Court would ensure that her friend is returned. When she finally receives an audience with the Court, she discovers that her best friend had been released a few days ago and was probably all ready back in the real world. She is then whisked back to the real world where she awakens to a very worried-looking best friend watching over her.

This storyline, for the most part, is taken directly from a dream that I had a year or two ago. I am quite fascinated with the surprising yet inevitable ending, and hope to convey that same feeling through this video. It is heavily influenced by the Hmong culture—especially from the belief in animism and the role of the shaman. Animism is basically a belief that everything, from animate to inanimate objects, has a soul. The shaman is a medium between our world and the spiritual world, and all illnesses and abnormal happenings in our world can be traced back to discontinuity in the spiritual world.

To achieve this, I plan to use cutouts to portray the real world, and then change over to using black-and-white/sand animation to depict the Spirit World. I will also be playing with time- and object-based tricks as well. The transitions from colorful cutout animation to black-and-white/sand animation back to cutout animation, in themselves, are object-based tricks. Other transitions will act as time-based tricks. The time in the Spirit World will also seem to be moving much faster than the real world; however, the audience will find out at the end at the Spirit World moves much slower.

I will also be using sound for this project; sound will include voice (narration and dialogue among characters), environmental, and sound effects. The usage of voice will help move the story along and the environmental and sound effects should help connect the audience with the characters at a higher level.

I plan to work on the cutouts wherever I can because they will be the most time consuming. I imagine that this is where most of the tweaking of the project will take place because it will determine which techniques will work and which ones won’t work well. The actual shooting of the scenes will take place in designated places and/or times so that the final animation video will be consistent in lighting, background, etc. I hope to get most of it done on campus, since I would probably have fewer resources at home.

September 14, 2008

Lauren: Project 1 Proposal

For my stop-motion animation project I am going to have more of a narrative storyline. With the narrative the story will have a beginning, middle, and end. I am going to tell the story of a dog who is hungry and his other dog friends refuse to share their own hard earned food with him. Therefore he must find his own and inevitably passes by a sandwich shop. Of course in the shop dogs are not allowed in and so the dog must try to sneak into the shop in order to get a sandwich. The middle part of the story is the many ways the dog attempts to get into the shop without the manager spotting him and throwing him out. I really love Chaplin and Buster Keaton films and for the middle part of narrative, in particular, I'm using those films as an influence for the attempts the dog is going to make in trying to get into the store. The dog will definitely be engaging in some physical comedy in attempt to get his sandwich. However, in the end the dog will be successful and end up getting his sandwich.

The tricks that I'm thinking of using are time-based and maybe object-based. With a time-based trick I'm planning on doing a slow-motion technique where the dog is leaping through the air at an open window. With the slow-motion the leaping will become more exaggerated and provide tension to see if the dog will make it. For the other trick I'm thinking in terms of an object-based one where the dog is so hungry that he thinks he sees someone holding food but when he lunges for it, it turns into a different object that wasn't food at all.

For the moment I am pretty intent on using drawings to convey this narrative but I may also include collage and build a set, though I'm still working on whether I will do that or not. I'm still not sure though how I will be using sound in my project. I know that it would definitely be better with some sort of music or sound effects when the dog attempts to get into the store. Because I'm basing it off of silent movies I know that a soundtrack definitely enhances the storyline - so I will have to figure out what kind of music/sound would work best. But overall with this project I wanted to make a story that people would enjoy and find some humor in.

Tyler Project 1 Proposal

Project 1 Proposal
Stop Motion Animation

For my stop motion animation projet I will attempt to show a day in the life of a University of Minnesota Student. This will include (because I am a commuter) a drive to school, riding the bus from class to class, relaxation time, class time, study time and of course fighting through the lines of getting a meal.

I will use time tricks in making the relaxing times during a day seem like time slows down but during the busy, almost frantic, times of the day will seem like they happen quicker and in a less organized way. I hope to use a combination of video and stop motion animation in my film.

I will try to include at least one object trick although I haven’t been able to develop an idea around that yet. I have thrown around ideas of not being able to find something, or thinking that you have your homework in class ready to turn in and then its just not there.

Because my film will be taking the viewer through a day, it will very easily have a beginning, middle, and end. The beginning of the day will be represented by the commute to school as well as getting prepared for the days classes. The middle of the day will include classes, a meal, and travelling around campus, while the end of the day will include a reflection on the day that was and looking ahead to thenight of homework now facing the student.

Although my film will be more straight forward and not have many abstract concepts involved in it, I hope to be able to make the viewer interested in my film through seeing the humor and parody involved in my film. The viewer will hopefully feel as if they are living the day that the student is going through and in that way find themselves in the film.

Although my idea is very basic, I have a few different ideas that I am less confident about that may find their way into the film. My idea for this film is still in the infant stages and I would not be surprised if my idea was changed at least in a small way before the finished project is seen.

September 13, 2008

Jordain: Project One Proposal

Project One Proposal: Stop Motion Animation
By: Jordain K. Chinander

For this project I would like to incorporate animated drawn images along with an actual human character. The story will play with the concept of time by using still images taken at varied durations of time during the film’s course of action. The story will be composed of a beginning, middle, and end. It is meant to generate creative thinking and interest in the viewer.

The project will include a single human character and a set of drawn images that will appear to become animated when they are snapshot in a rapid succession illustrating minor changes in detail to suggest motion.

I want to bring together two seemingly different worlds, namely the “real? one and the animated one, and blur the boundaries of their distinctions from one another. This goal will be accomplished through their active interaction with each other in the short film.

The concept of time will be actively engaged through the manipulation of still images taken at varied times through out the film’s course of motion. The images at times will be set with greater periods of time in between them when focused on the human. This will make the character seem less animated and more posed. Whereas there will be many still images captured with less time between each caption of the drawing, giving the drawing the allusion of animated interaction with the character and the viewer.

The story will be simply composed of a direct story line. That is to say it will consist of a beginning, middle and an end. The beginning of the film introduces a lonely artist hard at work drawing in front of his drafting table. Before him sits some paper his pencil and a mirror. Upon closer examination the viewer will see that this artist’s face is composed of paper. He is vacant and without expression. Next the viewer will be shown the artist’s drawing. It is of a face. However this face is not of any imagined origins, but rather a likeness of the artist’s supposed face. As though it were brushed by a touch of magic, the drawing comes to life and begins to talk to the paper-faced artist. The drawing then urges him to lift up the mirror and gaze into it. Reluctant at first, the artist inevitably placates the drawing fulfilling its wishes and looking into the hand mirror set across the drafting table. The viewer sees the backside of the mirror as it is lowered to reveal the artist has been given a face. The film ends with the artist glancing down at his drawn counterpart to be surprised by the sight of an empty page before him.

The layout of this film is not to be a straightforward and entirely comprehensive narrative, but rather an interesting set of unrealistic events geared to inspire abstract thoughts of the surrounding world. It is meant to be a message to the viewer to start seeing the reality in the imagined and to see the unreliable nature of the real world. Also I hope for it to help the viewer to see him or herself in the work he or she creates and the things he or she surrounds himself or herself with.

September 12, 2008

Amy: Project 1 Proposal

My stop motion animation project will focus on the story of two Rubik’s cubes. The two Rubik’s cubes are representing a couple of rivals that have decided to compete. The story is the actual performance. The two cubes are performing live on stage in front of an audience. Throughout their performance, the Rubik’s cubes are battling, constantly trying to out-do the other cube in terms of skill and trickery. The tricks start simple. Yet, as the show progresses, the difficulty of tricks progress as well. In terms of the basic structure, the story will begin with a traditional stage curtain to signify the setting. The middle of the story centers on the battle. Finally, the story ends with the stage curtain, again highlighting the theatre setting.

Currently, I plan to incorporate both time-based and object-based tricks. One example of an object-based trick is the sudden disappearance of one of the Rubik’s cubes. Another object-based trick being considered is the change from a single-colored cube to a multi-colored cube. I hope to accomplish this trick by working with several different Rubik’s cubes. Additionally, I would like to utilize transition speed manipulation as a time-based trick. A scene in the movie, La Jetée, promoted this trick idea. Hopefully, this project will explore the trick in the scene where the picture changes from still images to real time video. While real time video will not be used in my project, it is my intention to create a similar effect using varied breaks between still images.

My initial thought for the location is a simple black set with a red curtain symbolizing a traditional stage. Ideally, I would like the location of the set to be away from outside light. This will help prevent undesired changes in shadows. In order to achieve this, I plan on using an individual lamp to create the appropriate lighting effects and feel. Regarding my beginning style ideas, I would like to vary the shot styles. For instance, close-ups could be used for each featured Rubik’s cube solo. This will help add clarity to the form for the audience. Finally, in terms of sound, I feel the best way to use sound intentionally in this project is to use sound effects. They will help portray the story through the use of effects like applause. These sound effects will be found online.

September 10, 2008

Soap Factory Opening: Saturday, 13 September

The Soap Factory Presents Pay Attention: Greater Minneapolis 08
Opening Reception Saturday, September 13, 2008 7-11 PM // Exhibition Runs: Sep 13 - Oct 26, 20
Produced by : Christopher Pole, Patricia Healy McMeans -- Advisors: Yasmil Raymond, Dave Salmela.

In 1974, Gordon Matta-Clark wrote “the only difference between expectation and surprise is authorship.? This observation framed his artistic process; he regarded the bisection of buildings and houses as a “releasing of architecture.? His own hand on the chainsaw simply became a utilitarian tool to release inherent energies already existing within the structure. Clearly Matta-Clark’s engagement is crucial to the experiment, but for him the art remains separate from himself in a phenomenological sense. He surrenders the idea of the artist author, and in doing so, the result of his experiment begins to shift away from expectation to the unknown. The distinction between expectation and surprise informs the timbre of the exhibition Pay Attention: GM08, on view at the Soap Factory from September 13- October 26.

What began as a survey of emerging contemporary artists based out of the Twin Cities area has focused itself into a group show of experimental new work by 22 artists and collaboratives. Critically engaging social and psychological examination, these artists use varied processes and time- and object-based mediums: performance, sound, new media, painting, printmaking, photography, film, and sculpture. All participating artists were asked to make new work specifically for this show. As producers, and viewers, we don’t know exactly what we’re going to get in September, a condition which further shifts our expectation.

Participating artists: Christopher Baker, David A. Bradberry, Eric William Carroll, Jan Estep, Chris Hill, Julia Kouneski, Kristine Heykants, Ali Momeni, Pete McLarnan, Christian Nielsen, Christopher Pancoe, Kirsten Peterson, Drew Peterson, Heidi Prenevost, Stevie Rexroth, Jenny Schmid, Andrew Schroeder, Tony Sunder, Tectonic Industries, Megan Vossler, Jonathan Gomez Whitney, and Marcus Young.

Please visit the Pay Attention: GM08 website for more information on inidividual artists.

Makoto Fujimura

Makoto Fujimura

The Extravagance of Hope: The Mediating Role of Art in Culture

Friday, September 26, 2008, at 7 PM

Regis Center for Art, In-Flux Room (E110), UMN Campus

Art has been associated with transgression, shock, and irony especially in the recent days. "Culture War" language further isolated artistic territories as a battleground for ideologies, creating a deep divide in culture. Artist, author and creative catalyst Makoto Fujimura will explore possible ways in which art can, and has been, a medium of peacemaking. Instead of divisive language, can art be a "third language" in

culture to "create the world that ought to be"?

A Manhattan-based Japanese American artist, Makoto Fujimura blends abstract expressionism with the traditional Japanese art of Nihonga.

He is the founder of the International Arts Movement and was appointed to the National Council on the Arts in 2003. His works are on display at the Saint Louis Museum, Museum of Contemporary Art in Tokyo, and the Time Warner / AOL / CNN building in Hong Kong.

This event is free and open to the public.

Sponsored by St. Paul’s Outreach and MacLaurin Institute (

September 8, 2008

class schedule

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Project 1 Handout

stop-motion animation
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September 6, 2008

Mac Operating System

Help with Mac Platform

September 3, 2008


Sony DCRTRV38 Camera
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Panasonic PV-GS150 camera
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MicroTrack Recorder
quick start guide
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Green Screen tutorials

After Effects Green Screen Tutorial

Final Cut Pro Green Screen Tutorial
A basic tutorial

Tutorial: Chroma in Video (Final Cut Pro)
A more involved tutorial

DVD Studio Pro Tutorials

Animation resources and tutorials

cutout and scandpaint techniques
Download file

claymation techniques

choreographed "trick" : A Chairy Tale (1957) film by Norman McLaren and Evelyn Lambart

animated music videos by Arno Salters

Flash Tutorial

Creative Commons

freesound project

FCP tutorials

This is a must for everyone in class to go through

Final Cut Pro Introduction
Final Cut Pro 6:
Overview of the Interface
Importing Footage
Export & Output

Compositing & Keyframing
Filters & Color Correction

Visiting Artist Schedule

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Visiting Artists & Critics Lecture Series
All events take place in the IN-FLUX Room in the Regis Center for Art at 7 pm and
are free and open to the general public.

Thursday, September 18, Mark Beasley
For the last decade Mark Beasley has practiced as an independent curator, writer and artist based in London. Currently, he is working as Curator of Creative Time in New York, which “presents the most innovative art in the public realm… working with artists who ignite the imagination and explore ideas that shape society.?

Thursday, October 30, Enrique Chagoya
In his prints, drawings and other works on paper, Mexican-American artist Enrique Chagoya appropriates and reorganizes images taken from the American mass media, Mexican folk art and religious sources, using them to create biting and often very humorous political and social satire. His art becomes a product of collisions between historical visions, ancient and modern, marginal and dominant paradigms.

Thursday, November 13 Allison Smith
Allison Smith’s objects and performances restage pivotal moments in American history to illuminate contemporary political issues. The myriad elements used in her projects, such as dolls, quilts, and uniforms, are handmade and labor intensive, foregrounding the role of craft in the construction of cultural identity. Allison Smith is an Assistant Professor at California College of the Arts.

Visiting Artist Response Guidelines

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Syllabus: 1601-1 Fall 2008

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Media Mill

Theater Department equipment and studio checkout

Art Department equipment checkout 1&desturl=

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