#i have also learnt that timing the frames to the audio means you have to change what timings you originally had and audio covers slip-ups

[illfoandillfie]

Hi!! So I took a small class tonight about tarot cards and I’m SO EXCITED to start! Do you have any advice for somebody just starting out?

oh thats so cool, i’m excited for you! what sort of stuff did the class cover?

I’ve got 4 main points of advice but i’ve broken them down into smaller sections based on what i’ve used and what i’ve seen others talk about. Take what you feel works, ignore what you think won’t help or what sounds dumb or whatever. There are so many ways to approach tarot and what worked for me won’t necessarily work for you so test things out and play around with it. If you have any more questions about things i haven’t covered or if you want me to elaborate on anything or link some more resources please let me know!

Tip 1: Get a deck.

obvious place to start but having the cards is an easy first step lmao. there are also apps available if you can’t get a physical copy but being able to shuffle a physical decks will probably help you connect to it better. 

I recommend something based on the Rider Waite Smith imagery because so much of the images inform the meanings of the cards and will help you learn - there are tonnes of different RWS decks out there, This one is quite bright, This one is a bit more muted in colour, This one has redone the art so it’s in the art nouveau style while keeping the RWS images, This one has modernised it so it’s not just white men on most of the cards

If you want some more suggestions for good decks for beginners I recommend watching THIS video or looking around youtube. Tarot readers/cardslingers/whatever you want to call them like showing off their collections. There are so many videos of people talking about which decks they own and showing off what the cards look like (even i made one lmao) so it’s a great way to get an idea of what a deck looks like and the size of the cards or even the weight of the cardstock they’re made with, even if you can’t physically touch them.

But the easiest way is to find a deck in your local bookstore and see how it feels for you. You want something you enjoy looking at, and that resonates for you because you’ll be able to connect with it easier

After that you can branch out if you want. Some readers only have one deck that they do everything with, others collect decks like people collect coins. Personally I like using different decks for different questions but a solid RWS deck will work for anything so if that’s all you feel you need then that’s cool too. 

Tip 2: Start a Tarot Journal

this is what i did when i started. I bought a cheap notebook from the newsagency on my way to work and I dedicated 2 pages to every card. I titled them and then wrote down what the little white books that came with the decks i had said about each card as well as made notes on what imagery/symbolism was on each card. As I’ve learnt more I’ve added to these pages, observances i’ve made about when the cards are likely to appear, things i’ve seen other readers comment on (like someone i follow refers to the 5 of cups (i think) as the unrequited love card), relations to astrology, anything interesting i’ve read about the cards that i didn’t already have written down.

At the back end of the notebook I write down results for interviews i do with new decks

and i also have a section for particular spreads i like after all of the individual card pages but there are so many things you can write about in tarot journals.

i’ve seen some people do a daily card draw in the morning and write what the card could be referring to and then at the end of the day they write about what happened and how it related to the cards

I’ve seen others that try to relate song lyrics or movie quotes to each card to help them remember what the card means.

if you look for ideas on google or youtube i’m sure you’ll find examples of what people do with tarot journals. 

Tip 3: Seek out info from other readers

One way to do this is books. There are so many book out there, especially for beginners, that talk about advice for reading cards, ways to help you learn the meanings, spreads that come in handy, etc. I read a book called Kitchen Table Tarot by Melissa Cynova when i was first learning and found it really helpful. But there are heaps of others out there too. Most bookstores will have a “new age” section so browse around and see if theres something you like the look of. Same goes for libraries. Or places like audible if you like audio books. 

Podcasts are also a thing. I don’t have any specific recommendations but i’ve come across references to witchy podcasts so I’m sure there’d be something tarot specific out there.

Youtube is also brilliant. I love watching pick a card reading videos. It’s a really easy way to see how other readers interpret cards, what sort of systems they use. I like Siren Tarot and Charmed Intuition Tarot. They both read very differently. Siren uses multiple tarot decks in rows to figure out the story. Charmed is more likely to combine her tarot cards with oracle cards and she reads charms as well and sometimes uses a pendulum. 

There’s also a witchy community on tumblr as well, so have a look around, maybe follow some people or lurk in tags. 

Tip 4: Practice.

Read for yourself, asking different questions. Love life, career, friendship, family relationships, goals you have, whatever comes to mind. Do daily/weekly/monthly readings for yourself. Get a feel for how the cards operate. Start with one card, learn how to interpret it, what it might mean in relation to your question. Then add another couple of cards, see how the meaning gets clarified by what appears around it. Make notes as you go. This is where a journal comes in handy because if you write down what cards come up and what happens on those days you can start seeing patterns and that helps you understand the cards better next time they come up.

Read for others too. People you trust that you feel won’t make fun of you learning tarot or won’t talk shit about it. Close friends, family. Or, if you don’t have anyone irl, do what I did and let people ask for readings online. Start a specific blog for it if you want. It’s good if you know them irl because you can easily ask them how things turned out, see if you were on the money or if your interpretation was off then you can go back to what was drawn for them and see how it connects, if it does at all. 

Don’t be afraid to read cards with the guidebook in your hand. That’s what they’re there for, to help you understand the cards. You can often get a sense of the card, if it’s positive or negative and what its meaning is, by looking at the imagery but use the books for as long as you need!

Create your own rituals around your cards. Some guides will tell you to sleep with your deck under your pillow or beside your bed so you can connect with it as you sleep, some will tell you to cleanse your deck in sunshine or moonlight or with smoke from a candle or by placing a specific type of crystal on top of it. Figure out what works for you. Cleansing can come in handy, especially if you do something that’s emotionally heavy, being able to clear that energy from your deck will give you better results in the next reading but if letting your deck sit in the moonlight sounds kinda crazy to you don’t do it. Personally, when i’m getting ready to do readings I light a candle and make a cup of tea or coffee. I’ll knock on the deck to wake it up and maybe pass it over the top of the candle if I feel like it. It’s about making a space you feel comfortable in. 

Don’t read when you’re emotionally compromised. If you’re completely distressed and having the worst week of your life your results aren’t going to be as clear or accurate as if you’re in a more stable frame of mind. It’s why a lot of people like to meditate for a bit before they do readings. It lets them centre themselves and focus their energy on the cards. 

Don’t be afraid of your intuition. If you draw a card and a phrase pops into your mind, include it in your reading. If you see something on the card, even if it’s a small image, and you feel like it’s important, mention it or note it down or whatever. It might seem like it comes from out of nowhere but it’s your intuition picking up on something small you might not even realise you’ve noticed. 

#this got a little long oops #i just had a lot to say #and i've probably forgotten stuff lmao #i'm also going to start tagging this stuff as #tarot advice #so ya'll should be able to find it easily #if you ever want to #seriously tho #please feel free to come back and ask more questions or tell me if you try any of these and they work for you #i love the idea of helping baby tarot readers find their feet! #even if i'[d still class myself as a baby reader lmao #Anonymous

[jessmusedtech]

Week 5 - Multicam filming, live audio recording, and syncing

This week’s lesson started with watching a video about all the things that needed to be considered with multicam filming, including framing shots, syncing up video/audio and lighting. The different angles can be very helpful when recording musical activities, so you can see everything that is happening. This is definitely something I will keep in mind if I ever have to have an online music lesson or even just record something short to share with a music class. I learnt a lot about the different equipment such as the different types of lighting, microphones and cameras that could be used. I also learnt about ways to make do with limited resources, such as putting a white sheet or tissue in front of a table lamp which would be an option for lighting. 

Positioning is also very important towards the message you are giving e.g. a front-on shot from the chest up would mean a more serious, important message, while standing off to the side, facing diagonally towards the camera is more friendly and open. I also found out the reason for clapping at the beginning of clips, which was for the purpose of syncing up clips. You can see the clap as well as hear it, which allows for syncing up clips from different angles, when you match up the claps in both clips. 

The second half of the lesson was a bit more hands-on, in which we had the challenge of either doing multicam filming or doing the ‘cheat’ way if we only had one device to film on. This consisted of doing one shoot and then a second close-up shot afterwards and then lining them up in editing software. We were given around 35 minutes to do this, which really tested my non-existent editing skills. After many failed takes of laughing mid-sentence, I managed to successfully film my clips. It was then that I discovered that Windows Moviemaker no longer existed and I had to use the Photos app, which essentially had the same function. My next hurdle was that I couldn’t figure out how to keep the audio of one video playing while I switched to the close-up video. In the end, I converted the MP4 to MP3 and cut it at the exact time to use as custom audio for the close-up clip. This probably was not the most efficient method, but overall it gave me a satisfactory final product, which can be watched above. Doing this in such a short time period really tested my flexibility but I really enjoyed this challenge and I do feel I learnt quite a bit from it!

[jaykong99-blog]

Digital Storytelling Blog

The image I have decided to modernise by adding colour is that of Buddhist Monk Thich Quang Duc as he ignites himself in 1963 in Saigon. I have chosen to use selective colorization in order to have the viewer’s attention solely fixed on the monk. To colorize this image I decided to use Adobe Photoshop. 

My reason for choosing this image is because it has a lot of meaning behind it. In 1963 Buddhist Monk, Thich Quang Duc self immolated to protest against the discrimination of Buddhist monks in Vietnam. Blending effects were pivotal to the colorization of this image. I researched the colours of each of the things I colorized in order to create an accurate colour palette, thus making the image more authentic.The  of the image I colorized includes the fire, monk and the car. I have decided to make these three things stand out to tell the story of the monk. I decided to colorize the car because I had found out that it was the monks car and the gas  The fire was a major issue when I colorized the piece due to the fact that I struggled trying to find a realistic effect for it. However, this issue was overcome when I started to change the Opacity adopted a trial and error approach to see what effect worked best with the fire. Multiple layers were used to add different effects to the different things in this image.

I believe the most compelling feature of this photo is made clear by the selective colorization. If I had colorized the whole image it might not have been as captivating. The fire is almost luminous and it contrasts greatly with the car making the image eye catching. because the If I was to attempt to colorize this photo again I would have put more consideration when blending the orange and yellow in the fire so that the image will look more accurate and realistic. My peers have said the given to the photo are realistic and that it depicts the image in a very vibrant way. The criticism I had for this piece was about the fire. I was told that I could improve the fire by adding darker textures where the fire appears to be darker.

The stop motion piece that I was tasked to create was based on the theme of ‘Fracture.’ I decided to take the earth and split it into two by having a fly land on it. Audio is another key aspect used in the stop motion piece.

The piece was created using DragonFrame and After Effects. I had to draw and cut out each of the different things in the Stop Motion Piece. After that I had to capture each frame using DragonFrame. Once all of the frames had been recorded I opened the document up on After Effects to edit further. The green background meant that I was able to change it, so I went online and looked for a suitable background. I then went online and looked for appropriate sound files to accompany the Stop Motion and embedded them into the video using After Effects, cropping and resizing the files to have perfect timing with the image. One problem that arose was that the audio files would not work. In order to fix this problem I had to import the audio files again to ensure that it worked properly.

The most successful feature in this piece of work is the movement as the image moves very fluidly due to the amount of frames I have made. My peers have said that the piece is put together very well and the audio compliments the image. They said that the piece was clear and easy to understand. However they also said that the earth was clipped at the top at in one frame and could be improved by fixing the issue.  If I was to do this again I would edit the clipping around the earth in each frame so that it is fitted better. 

https://vimeo.com/314584522

The Bitsy game I have created is based on the theme, Human Overpopulation. The game is an adventure game that requires you to escape the evil King and the genocide he is about to commit. The game includes basic Bitsy coding.

One issue I had was the aesthetic of the game. I was dissatisfied with the look of the game at the start. However, I edited the colours and also invested deeply into each of the tiles that were to appear in my game, paying close attention to each detail. I believe that due to these changes the aesthetic was greatly improved. When I first created the game I believed it to have been quite boring and bland. In order to make the game seem more dynamic and lively I decided to animate some of the sprites and tiles. 

If I was to have make this again I would have found out how to implement more code into the game other than the standard Bitsy code. I encountered problems with the conditionals and wasn’t able add code to the game because of script errors and lack of knowledge of the program. If I was to have done this again I would have learnt how to implement additional code. I would have also made made the game longer by adding more rooms and more sprites that offer additional tasks. My peers have said that the Bitsy game is successful because it is clear and easy to understand. The criticism I received was that there could have been more dialogue to add to the story. If I made the Bitsy game again I would have vastly improve the storyline. If I was tasked to make this again I would include sound files to make the game more interesting for the player.

https://jaykong99.itch.io/depopulation

The Visual Storytelling Piece I have created is meant to depict Bath Spa as being haunted. I used Adobe Photoshop to edit the images.

In order to tell a story of Bath Spa being haunted I decided to edit in a ghost that is followed by a trail of grey. I did this by getting an old image of a girl and putting effects on her as well as creating additonal layers to make her look like a ghost. I used the brush tool with 0% hardness to create a shadowy feature to create a haunted atmosphere. The layers were placed in a specific order so that I could easily amend mistakes and so I could create different effects using the blending options. One issue that was apparent was that the photo’s were too dark to get a good quality picture, I overcame this problem by going on different days and times. Compiling the video’s together was also problematic, due to the fact that After Effects would not work with the images. In order to overcome this problem I had to use iMovie.

My peers said that in the last photo the resolution is quite poor, meaning that it may be difficult to see. However, the over exposure to light from brightening the image has, in my opinion created a haunted effect. If I was to do this again I would have captured better quality images, in order to have done this I would have taken more pictures in the day rather than the night.  I could have also taken images that indicate that it is clearly Bath Spa. 

https://vimeo.com/314628817

[ichcha-media-blog]

COURSEWORK DEVELOPMENT AND PRODUCTION

EDITING (A)

DAY 1

We had finally arrived to the part that will allow our final output to be produced.

The editing.

We used an editing software called final cut pro on a Mac that was provided by the school. The footage that was stored in the cards that we used during our shoot was transferred to this Mac. Make this editing process more convenient and efficient we first organized all our footage and created labeled folders to store it all in.

We created three new folders. They were named:

Project – all FCPX files were stored in this folder.

Source – all input files and the footage we are working on.

Render/Output - all edited files and final output.

We also had a short lesson regarding the difference between pixels and vectors.

A 'pixel' (short for 'picture element') is a tiny square of colour. As you zoom in to a picture made up of pixels, the pixels also expand causing the audience to be able to see the properties of the pixel from a closer view. This lowers the image quality and causes what people say casually, pixelation.

A vector is an image made up of points, lines, and curves that are based upon mathematical equations, rather than solid colored square pixels. This means no matter the size or how far zoomed in the image is, the lines, curves, and points remain smooth.

Then we learnt the features and workings of the FCP software. Like how to import files from our source folder, arranging them in a timeline, trimming these files, layering etc

Discussing with the editor which take of each shot should be imported

Our first task was now filtering through all the footage and selecting and importing only what was needed to the FCP software. Since several takes and shots were taken for each scene we went through all of them and imported which ever one was the best executed. Once all these input files had been imported to the software we could again view them and place them in our timeline. Our timeline would be based on how we wanted our film to look. We also had to keep in mind that we could not cross two minutes. We decided to keep about five seconds for the title slide which left us with one minute and 55 seconds for the rest of the film.

The toughest part on this day was realizing how much footage we had to let go off. Since the film could only be for two minutes we had to use our footage effectively and in a way that the spirit of a film is shown without us crossing the time limit.

The timeline changed quite a lot from our original flow of scenes. Like we decided to use our last Scene - the judge, as our first scene in the timeline. This was because when using the judge scene as the final one, a sense of completion was given to the film which should not have been there since this was merely an opening. I also found this scene as a good opportunity to use the second bang of the gavel as an audio transition along with an abrupt cut straight to the crime scene. This abrupt transition again enhances the harsh reality of Sara’s death and also creates a link between the investigation of the crime and it’s trial.

The various clips that were imported and were in the process of being set in a timeline. A sound track that we were experimenting with is also visible

We then had our normal scene which was the establishing shot of the crime scene. The close-ups of the crime techs were now used as they spoke the dialogue. We wanted to show them in closer view to the audience since they were speaking. A Cut away from crime tech 1 was used to show crime tech 2 and then back to the main shot which was crime tech 1 in frame.

We then had a normal cut to the next scene. This was also the next scene in the timeline was also according to the original script. this scene required no layering or built-in cuts and edits. The entire shot of the scene was put up in the timeline as it was. This was Scene 3A. The first conversation between Samuel and Detective Majors.

As the final sentence of the last scene was spoken by Samuel about his disbelief on Sara‘s death, we used the last word of his dialogue and immediately transitioned to the happy montage with the thought that he must be reminiscing about her during such a sad time. This was also done according to the original script since the happy montage comes after this scene even in the screenplay.

The first flashback in this montage was a little tricky to edit since we had taken three shots of the same scene. Two of them were close ups. There was a certain lack of continuity between the two shot of the actors and the close-up of the box being slid since there was a difference in when Sara lifts up her hand to hold the box in both the shots so we decided not to use the close-up of the box being slid. Instead we put the two shot of Samuel gifting the bracelet to Sara in the timeline and just as she starts lifting the bracelet in the two shot we have an insert of the close up of the bracelet which we had previously also shot. This close up again allowed us to emphasize on the significance of this bracelet and as she started putting down the bracelet we again insert the two shot wherein Samuel is seen showing his own bracelet which is identical to Sara’s bracelet.

A single cut was used to get to the next flashback.The second flashback of this montage was quite easy to edit in since the entire shot was put into the timeline as it is.

The cut from the second flashback to the crime scene again was also extremely abrupt to wake the audience from the dreamy flashbacks. According to the script the next scene (3B) should have been another conversation between Samuel and detective majors, however this scene according to me did not bring much to the essence of the film and neither was the shot taken extremely well so we decided to scrap of this scene.

The next scene put into the timeline was the conversation between Detective majors and crime tech 1. The storytelling of this scene, I personally thought was done well. We were able to cut from the crime tech as she speaks to the detective and then cut it back to the crime tech and so on during the conversation.

These cut backs allowed smooth conversation. Since the cause of death is discussed in this scene we thought it would fit well to abruptly cut to the death flashback which shows the events leading to the murder.

I saw a wonderful opportunity here since the death flashback ends with the head bang which leads to the black out. This allows us to use the black out as transition to the title slide.

After the title slide a normal cut was used to show the last shot in the timeline. The bloody dripping knife.

Day 1 mainly the organizing of footage in the timeline and using different cuts in some places. At the end of the day we also decided what kind of soundtrack we would want for our film.

[exploring-art]

Final Project proposal

What to do, what to do.

The final project is a 2-5 minute film about anything, using the techniques we have learnt so far and endless inspiration. So! My proposed film’s synopsis is as followed in this blog!

“Poetry is inspired by the elements of random thoughts, an overflow of gazing at the unseen.”

― Michael Bassey Johnson

Inspired by this quote, I desired my theme to be Sight; what can or can’t be seen.

I’ve always been interested in what we can and cannot see such as sound waves, imaginative creatures, powers, nature, mythology and so forth. But another meaning that I bring is that since being stuck in lockdown, we all have tend to lose sight of what we are after, so it becomes like a reset.

Research, Inspiration and Meaning

Developing over what we have learned, seen and done in class, these 4 other items have further inspired me:

Out of Sight is an animation film of a blind girl as she explores and fantasizes about her world when her guide dog went to chase the thief who stole her bag. She starts to fantasize about being a witch, taking a stick and imagining it to be a star wand, and exploring the surroundings before her. I took the inspiration of how shapes were used to describe objects and sounds before the little girl was able to figure out what they are. Such as the ball rolling around until its revealed to be a cat when it meows. This thought of curiosity as you figure out what they are is something I would like to incorporate.

Out of Sight (敲敲)

Next, two other Youtube Dance films on rotoscoping express the technique and how I would like to do it. This included when they rotoscoped over the dance moves, accentuating them, but also adding other elements such as omitting details or adding things that weren’t there.

January 2019 Animation Compilation

Rotoscoping animation 로토스코핑 [ every single thing - Homeshake ]

The last inspiration was the book Sight by David Clement-Davies. Albeit it has been a long time since I read the book and that I may remember parts incorrectly, but the book is about a pack of wolves where few possess a strange mythical power called the Sight. I remember it being a book full of mystery and fantasy as I was drawn into their unique journey. I would like to bring this aspect of journey and storytelling to my film too.

Synopsis:

My main plan is to do Storytelling using Rotoscoping.

With the plot currently being: A blind girl as she ovecomes a problem or how she is exploring somewhere she has never been.

Though the plot currently doesn’t sound all too unique and original from what I just said my inspiration was. The visuals is to be a non-narrative sensual video in first person where sounds echo off the objects to express what they are (similar to echolocation or how sound waves can be used to portray an image). I have not just yet decided what problem or encounter the girl would meet, but I would like to explore the idea of coming out from lockdown and trying to explore the world yet again.

For the technique, as mentioned I will mainly be using rotoscoping (and possibly the idea of a zoetrope using 16mm film which I have benn trying to accomplish, but not just yet succeeded). The other ideas were to use 16mm fully such as using the black or clear film, stop motion or even frame-by-frame animation. The reason why I chose to do rotoscoping was not only because I have yet to make a film using this technique, but also due to the ability of being able to have the video, and change it to just being shapes, or lines by what they sound like. It is also to be able to create fantastical immaginations from it (similar to feeling given off in Disney’s Fantasia, especially the one with Mother nature; my favourite short film!) Rotoscoping allows me to various things to the video such as simplification, abstract and fantasy!

As my film is highly sound dependent, it will use the actual film audio taken and possibly a soft background melody to have it tied to everything. But this does not necessarily mean what you hear is what you see, hence my theme and what I want to explore further for my film.

Production schedule

My production schedule is as followed:

Taking now till the end of the week to storyboard, and filming the next week as we are out of lockdown. With rotoscoping taking the biggest time gap as it is the most time-consuming component, where I will have to rotoscope the whole film. After would be the fun of post-production yet again!

Well, it's time to create the storyboard! Though right now I have a plan of what I would like, I have no idea how it would turn out as (experimental) film is a unique medium that not only lets you create what you want, but also leads you down unexpected paths. Paths that I am excited to explore!

#experimental film

[sanjnas-blog-stuff]

AS level Media studies 9607

Week 37

Editing workshop

In our editing workshop we learnt how to go about Adobe premiere Pro. we learnt the key functions and how to operate it. Our editor did not show up for this workshop so me and the cinematographer were extra focused on learning as much as we could as we were unsure if the editor's attendence during the final post-production days.

Here are my notes on the same:

Sync settings have creative cloud and allows multiple people to work on the same project from different devices.

Home setting are where the filter and search bar are, these help locate the exact file one needs. It is better to use underscores instead of space when titling a project as using space takes time in processing. (Vinyl code: 0 = space 1 = character and 0 is heavier to process than 1)

Our teacher explaining the basics of Adobe premiere Pro

We were taught incremental saving. This means we save a new draft everytime there is a major change in the project so that we do not have to start from scratch incase of a system error

We were taught to follow a pipeline for saving our project into categorised folders such as source, project, and render.

Source folder: This folder will consist all of the raw footage and takes that need to be sorted into good for use and discard.

The Project folder: this folder will consist all the material that will be used for the final project. Foley sounds, pilot sounds, background music etc.

Render file : Lastly the render folder will contain all the different drafts of the project; multiple cuts and rough versions.

Here is an image of our teacher explaining the same

Sometimes we have heavy footage that may not be compatible with our software. In this case we must compress the files down to a lower size to help us work with them. The ingest feature helps us with the same.

If you copy a file, it'll save a new version with all the input from the last saved draft. If you transcode a file, it makes a low resolution copy of your draft. It is generally done to transfer the video from one format to another. Creating a proxy would mean that the system will create a different low resolution file of the imported videos while editing but switch to the original files before export.

Tabs that are the top of the software include; Learning, Assembly, Editing, Color, effects, Audio, Graphics, Libraries.

When the project contains videos that are untouched and are still in the original form, the buffer line is yellow. When there is some change that is made to the footage, the buffer line turns red. This is to alert the editor that there are some unsaved edits made here, no cache and no data has been saved. When the section is rendered the buffer line turns green. Signifying that this sections edits are secured and rendered

The Project window, where all the files and clips we have, are imported. You can import files by transfering them to input, Ctrl+i or double click.

The source window, to gather all of your sources and media that needs to be edited. double clicking the panel makes it appear.

The timeline. This shows the time frames and helps us place, arrange and rearrange clips as we prefer.

Work area bar. Defines precise work area and allows modifications to be made within the same.

We learnt about frames and frame rate. FPS stands for frames per second. The higher the number of frames the better the video.

We also learnt about the program window. The program window has 6 tools. Before, overlay, insert, after, replace and overwrite.

Mark in and mark out, marks the beginning and end you choose of a clip and when dragged it appears automatically cropped. Magnet Snapping tool helps precisely place clips (always on). Selection tool let's us select and move clips. Track select tool moves everything on all the tracks. Ripple edit tool crops and moves clips in place automatically and changes the position of video. Rolling edit is used when one clip gets cropped shorter the other cropped longer. The razor tool helps cut a clip into multiple clips. With slip tool, the shot size remains the same and content is free to change. The pen tool is used for Masking and VFX. The hand tool is used to sroll.

Auto reframe sequence changes the aspect ratio of the clip, it moves the centre according to the clip.

Labels make it easier to distinguish, group and categorise footage.

If you use set to frame size, then the frame size will be set for a single clip and if you use scale to frame size then the frame size will be set for multiple selected clips.

Adjustment layer is the layer where you insert all the effects including colour grading

The difference between Video effects and transition is that video effects are applied to the entire clip and not in parts, where as, a transition is something that is always applied in between two audios or videos or on a cut to show a swift movement from clip 1 to 2

Constant gain gives us constant volume no matter what where as constant power makes the volume dip slightly in the middle.

Color correction is done to achieve uniformity and get the same baseline.

As the director I had to mentally start thinking about backup plans for the shoot days incase the editor didn't show up. I was slightly worried about not being able to finish the project in time or at all. But I was reassured by my teacher that the project is a challenge but it's not impossible. I got a hold of myself and started planning for the next step.

The workshop overall was useful. Although it was extremely exhausting to take in all of that information in the spam of two days and retain it. But we kept up with what was going on and asked all the questions we had arise in our mind. This kept us on track. Our teacher reduced the pace and made sure we were able to understand.

[thegamedevquest]

How to make a game on your own when you're just a programmer ?

Hey guys

Last time, i introduced you to the goals of what will keep me busy for the next 3 months. To make it happen, i feel the most important thing is to be aware of your strength and weaknesses, so you don't put yourself in a position where you just can't deliver. Fortunately, i've been working for quite a while now and if i still have plenty to learn, i at least know my skills and inclinations well enough, and i can put them at the foundation of my work, obviously getting out of my comfort zone from time to time because i want to learn some new things as well :)

So when it comes to me, these are my strengths:

- I'm very experienced with programming, and i know C# very well after having used it for more than 10 years; - Although i'm by no means an artist, i know how to use Blender to model and animate stuff. 3D modeling has an almost technical/engineering kind of feel which lets you (or at least me) create great stuff even though you know nothing about art. I can totally recommend Blender Guru tutorials. - I've been a hobbyist user of Unity for years now, so i know the engine pretty well. It has evolved a lot as time goes, and some new things are totally unknown to me (such as DOTS or the HDRP), but i am very confident with using the core features.

Now about my weaknesses or things i have to improve on:

- I have really low skill at 2D art. I have actually learnt to draw during the (2020, covid) lockdown, but i'm nowhere near confident enough to use assets i would create in a game. I have never animated 2D things as well, and i really feel the workflow is too painfully slow for the 1 month constraint. Want to update the character ? Please redraw every frame of your animation... I know there are some skeletal animation tools for 2D as well, but i really don't like the way animations look in the end using these techniques. - I'm reallyyyyyyy bad at texturing models. I just hate the UV unwrapping part, and every texture i ever tried to make ended up horrible. Some tools seem great (such as Substance painter) and i would really like to delve into them in the future, but that doesn't look like something i could do in a reasonable timeframe. - Audio is absolutely remote to me. I just know how to use AudioSources in Unity (and probably not in the best way), and i have basic editing skills in Audacity. When you want to design your own sounds, it requires hardware and imagination and other things that i don't have (See this or this for examples), so although it seems like a lot of fun, i don't think i'll spend much time on audio design in my projects. - Not really a weakness on my end but more a weakness of the objectives i set myself up to: 1 month is very short, so i'll have to both have great commitment and make sacrifices to avoid being too ambitious.

I would like to mention something else, which is neither a strength nor a weakness but it seems relevant. I know game design because i've played and analysed (more or less deeply) my whole life, and i've read a few books about game design and theory of fun. I know how to make a game feel good or fun, but i have never had a greatly original idea, i just inspire from the games i play and love. Even level design is hard for me, because i quickly run out of ideas on how to make the game features or gameplay elements shine, i usually get bored after a few levels because i feel like i'm repeating myself. I really admire people like Lucas Pope, Notch or the FTL/Into the Breach team, because their ideas really push the industry forward.

Taking all this into consideration, the games i'll make in the next few weeks will probably respect the following "rules":

- There won't be any groundbreaking ideas or never-seen before gameplay mechanics, but i can do the execution as best as i can. My games will be short so that i don't run out of ideas regarding level design. - They can be a little complex technically, because i am confident that i can find a solution to (almost) any programming problem - I won't be able to feature complex 3D stuff such as animated living creatures because i can't do that with a good enough fidelity. I can however model and animate machines, and i can also find ways to avoid having to rely on high fidelity. - I can model stuff, but i can't texture. Basically it means i'll have to use styles such as textureless or low-poly. Plus i really like this art style, and with a few post processing i think it looks amazing. - I can't do proper 2D art. - I won't design audio, so i'll have to rely on external SFX and music assets. Fortunately i had purchased some great SFX and music packages in the past during a Humble Bundle offer, and i'll probably be using freesound.org and newsground.com as well. As i doubt i'll find every sound i need that perfectly fit, i'll probably be learning a little bit more of Audacity along the way but that's something i did want to to do anyway. - I can only do a few features per game if i want them to be polished. Remember, the main objective is to use these games to showcase proper skills, and i thing that making prototypes of plenty of "kind of working but not really" features is not a good way to prove that you know how to make games. Less is more and quality over quantity are my mottos :)

Let me give some examples based on the first game i'll be doing (OK, i've written this article a bit late, so it's already done and i'll be able to illustrate). Remember, it's a 2D platformer with emphasis on fluidity of controls and animations.

I've chosen an art style that : - can be done without much skill in 2d art. Colors for instance are hard, so i avoided them, but you can add depth through greyscales and parallax effects. - is really easy to work with, and requires very little work when designing the levels. Basically just drag and dropping and putting on the correct layer. All the level geometry are just stretched black sprites. I've done a few props in a few minutes each to populate the levels. - lighting has no effect on so i can use any asset anywhere in the game without it feeling out of place. - "hides" behind big pixels, most of my the tiny details showing my inability to model very accurate stuff, or making animations that seem really natural (because i feel that good animations are really all about the tiny details).

It's a 2D game using 3D models to make animations more fluid and iteration much faster. The next article will actually focus on that because i really enjoyed this approach.

At first I had in mind a pretty good moveset, with things such as sliding, rolling, grabbing weapons and melee and ranged combat, using ladders and poles and stairs, parkour animations for vaulting over small obstacles automatically to make the general feel more interesting... I cut all that and in the end the character is just running, jumping, climbing.

Until next time, take care!

[vileart]

Burrowing Dramaturgy: Andy Edwards @ Tron

 In Burrows

A new performance in BSL and spoken word, created by Andy Edwards, presenting at Tron Theatre on March 23rd and 24th. 

credits: Julia Bauer

The performance frames the act of description through a series of choreographies, investigating the relationship between spoken language, sign and meaning, and exploring perspective and how we engage with the world around us. In Burrows will be accompanied by a number of guest performances. Musician Blair Coron will perform a composition developed especially for the event. Petre Dobre and Adriana Navarro will present the short performance Words, who needs them?  What was the inspiration for this performance?

In Burrows began as a short piece, first performed at Only Skin’s SCRATCH back in October 2016. In the work I would describe an image to the audience, an image that was placed onstage so that they couldn’t see it, in 1500 words. What inspired this performance was a desire to make the easiest piece of work I could possibly make, that offered the maximum amount to the audience it could while carrying with it as little as possible. So it made sense to work with an audiences imaginations. Then I also wanted a piece of work I could just turn up and do, make up on the spot, so it made sense to play with improvisation.

The method of improvisation I employ was developed as part of the ground, the highest point a duet of text and dance I performed with Paul Hughes at a couple of festivals during 2015. Initially it very strongly drew from (or, less charitably, stole) Tim Etchell’s solo practice but since then it has departed considerably, and I’ve improvised poetry across a wider range of contexts, developing my own particular set of enquiries. Those enquires are primarily linguistic – I’m interested in how language works.

When offered to present In Burrows at Tron I was posed with the problem of how to take a very solid short work and evolve it into something three times the length, without just dragging it out. I’d been curious about working with a British Sign Language interpreter for a while, largely out of a desire to make my work more accessible to an audience I’d previously not made any work for and also because I was curious about the language itself. Placing Amy Cheskin into the work has been brilliant. A simple act that has produced lots of tensions, questions, that have driven the work forward.  Thinking about translation, interpretation and the fuzzy areas in

between has given the project a new lease of life – and certainly inspired me to push forward with it. Rehearsals are thundering along and we’re both pretty buzzed by how fascinating language is, and how it intersects – both producing and being produced by – what you’re thinking, what you’re feeling, how you’re trying to position yourself to others and the world around you.

Is performance still a good space for the public discussion of ideas?

It is a good launch-pad for the public discussion of ideas – and then, that discussion, happens after the performance has taken place. Any good discourse is advanced by someone making a claim about something, and then other people assessing that claim. Me saying that I think this gives you something to react off of.

The way I go about making performance is to think that each performance I make is an act of making a claim about something, taking up a position, and that by taking up a position I’m inviting others to observe, discuss and criticise that position. That’s the basic task that I’m up to – trying to hold someone’s attention long enough for them to know what it is I’m claiming but with a relaxed enough grip so that they can react to it. And then things that I’m doing are hugely informed by the ideas I’ve previously discussed that have led me up to this point.

I think that’s why art in general is a good space for the public discussion of ideas – because it is often people making statements about the world that have a smaller impact on that world. That isn’t to say that impact is negligible. Not at all. Or that it doesn’t have a significant impact on the world. It most definitely does – and that isn’t always a positive one. But there’s something both flimsy and robust about art that means the stakes are low enough so that we can discuss it but that also our discussion of it won’t kill the thing stone dead. So yes, in that sense, it’s has the potential to be a great space to discuss ideas.

That’s all potential though, because if only a small segment of people can access the space in which the discussion takes place then it won’t be much of a discussion at all. So, it depends on what the performance is, where it is being held and who is allowed in.

How did you become interested in making performance?

I’m not particularly sure. I came about it the long way around and avoided it for a while, in part due to a certain type of pressure applied to me when I was younger, and in part due to being scared that I’d be totally rubbish at it. As a teenager I found acting, with characters and lines and arcs, such a release for a build up of emotions I’d not learnt how to deal with. I did a GCSE, then A-Level, in drama. Then fell in with the theatre crowd at University – after a brief attempt to avoid doing it – then did a masters – after another brief attempt to avoid doing it – and since then I continually flip flop between wanting to knock Shakespeare off his perch and “getting a job in a bank”, forgetting of course that getting a job in a bank is probably quite difficult / the banks might not be particularly in desperate need of my services.

Is there any particular approach to the making of the show?

Me and Amy work in a manner where the creative responsibility is a little imbalanced. Given Amy is a translator, that’s a really necessary thing for her to do her job, but it leads to the interesting tension where if the work is crap it isn’t her fault, it’s mine. So it is interesting how labour divides up as a result of that. The pattern is that we meet once a week and for three hours throw things about, try something and note what happens. Then I’ll go away and write something, some notes, a script, or whatever – and then we’ll come back together again and throw what’s left together again. So we move forward like that – and it’s going super well I think.

Thinking about our general approach, we spend a lot of time asking what the audience will be getting from the work, and how audiences with different abilities will receive the work differently. The work will be accessible to a range of audiences including those who are D/deaf, hard of hearing, partially sighted or blind, with integrated BSL interpretation and audio description. This desire to make a piece of work that offers a rich theatrical experience to these audiences informs a lot of decisions we make. Rather than to offer one blanket experience of the work, we’re curious as to what we can offer each of these specific audiences in turn. The work, as a whole, is concerned with a very specific relationship to each and every one of its audience members. It’ll be a bit different for everyone, given that a lot of it will take place inside their heads.

Does the show fit with your usual productions?

While I’ve performed my work before, most recently as part of Andy Arnold’s group show NOWHERE during Take Me Somewhere 2017, I am more commonly found as a playwright. Typically I write text for others, in a ‘New Writing’ context, whereas for In Burrows I’m speaking text that has never been written down.

There’s a thread that runs through all this work though, which is about being in control of language. That sentence sounds a bit gross, reading it back. With In Burrows I’m making that process more explicit to the audience then if I were to write a play, which I’d typically do out of sight.

So while it will look very different to a lot of my other work, I think the underlying mechanics are fundamentally the same.

What do you hope that the audience will experience?

The dramaturg for In Burrows, Paul Hughes, wrote this note to me after a development weekend: “I’m looking at a photograph by Andy Goldsworthy currently on display in the Glasgow Gallery of Modern Art: a line of upturned leaves placed on dense patch of bracken, the stark white undersides standing out from the vivid green of the forest. It doesn’t impress the viewer in how it has acquired huge or rare or precious materials, or on how many people the artist holds in their command, or even in how it has hoodwinked and mocked the institution that houses it. No sustained physical commitment was required to produce this; in fact, the action so simple that we can imagine the exact steps with which it was undertaken. The gesture points towards the artist themself as much as any material circumstance or image.

Is this an alchemical transformation? Do we perceive the artist as a magician, effortlessly transforming reality around them? This can only be determined on a case-by-case basis, depending on the individual viewer’s tastes, affiliations and readiness to go along with the trick. What’s more clear is the particular sense of romance, of the poetic, within the artist: of the ways in which they read charm and delight in the world around them. Perhaps in this work - and obviously I’m talking about In Burrows too - the artist is inviting us to briefly see the world through their eyes - not as a way to seduce us, but to share with us a way in which we might allow ourselves to be seduced. We stand before an intimate proposition; the individual’s un/abashed offer of their very personal relationship to beauty”

So perhaps that sums it up, perhaps it doesn’t. I’m wanting the audience to have the experience of observing something very personal to themselves, namely their relationship to language, memory, imagination and image. It’ll be small, quiet, and hopefully full of stuff for them to latch on to and play with.

Both In Burrows and Words, Who Needs Them? have been created for the enjoyment of hearing, hard-of-hearing and D/deaf audiences. In Burrows also features integrated audio description for blind or partially sighted audiences. from the vileblog http://ift.tt/2ohvYuv

#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

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Emerging Media Portfolio

Week 2 Interactive Article

Critical Analysis: Technical skills that I learnt within this activity was how to integrate images, audio and videos into an article to make them more interactive. Due to it being more interactive it is likely that people will read the article as due to it being interactive it is more entertaining for people to read, compared to a lump of words on a page. Articles are a major tool for communication these days getting across information fast and effectively to people (Marygold et al. 2011, p.175). Interactive articles serve a major purpose to sporting organisations from a business performance perspective. If an article is interactive it helps with engagement with people, as interactive articles and the content they provide force people to be engaged, providing valuable return to a business (Upland Kapost Blog 2020). As people have to engage with the content it provides the sporting organisations with potential new users. Due to the fact that the content is also engaging and not ordinary  it also “makes your audience a part of the story” (Upland Kapost Blog 2020). Therefore the emergence of interactive articles for the fan experience provides fans with further engaging content making them feel as though they are a part of the sporting organisation. While also this engaging content allows for fans to get more information and views on a certain subject for their own club all in the one spot with videos, pictures and audio.

Interactive Article:

With the release of the AFL’s revised fixture up in the air for the 2020 Toyota AFL Premiership Season, is this the year Geelong triumphs in getting all it’s home games down in Geelong. For years Geelong has had to put up with playing home games in Melbourne instead of down in Geelong where they belong. This was due to the AFL stating that GMHBA stadium (Geelong’s home ground) is not large enough to host the large Victorian clubs which include Richmond, Collingwood, Hawthorn and Essendon. With a capacity of 36,000 the AFL deemed that they would lose too much revenue, if they were to play these large games away from the MCG with a capacity of 100,024.

An empty GMHBA Stadium pictured below (Austadiums 2019)

In 2017 which was the last time Geelong hosted one of the big Victorian clubs down in Geelong, there was outrage as Richmond fans could not get tickets into the venue. Teams should play their home games where ever they chose in order to make a fairer competition. Teams such as Collingwood get to play in excess of 15 games at the MCG, compared to Geelong who get to only have 9 games down in Geelong so how can you justify that the competition is fair. Will this be the year that Geelong get to play all their home games down in Geelong due to the COVID-19 shutdown of footy.

AFL CEO Gillion McLachlan on the shutdown of the AFL.  (AFL 2020)

As fans are locked out of stadiums there is no excuse for the AFL not to have all Geelong’s home games at GMHBA stadium, as they will not be losing any revenue as no fans are allowed to enter stadiums in the first place.

Joel Selwood Celebrates a goal at GMHBA Stadium (The AGE 2019).

Week 3 Website Plan

Old Mentonians Football Club Website

Objectives: Allows old Mentonians players and fans to be on one website to get all there news, information and live scores on matches. Meaning players and fans do not have to go to several different websites to get there news.

Content for each page: The home page will have a tab at the top linking to a page on each of the sporting organisations social media pages, highlight videos, news, teams, scores, photos, merchandise and sponsors. Also the page will have the biggest news stories throughout the day displayed with in the middle of the page.

Team page: List of every team at the club.

Scores: Live scores and past scores will be displayed.

Photos: Will contain photos from matches that will be set up into teams so the photos are easy to find.

Highlight Videos: Videos from matches will be shown on this page and put into teams to make them easily accessible.

Sponsors: List of all the clubs sponsors

Social media: Will have links to each social media page the club has.

Merchandise: displays all team merchandise and the ability to purchase merchandise online.

News: Contains all the latest news on the club and past news.

Page Layout:

Critical Analysis: Throughout this activity I gained the skills of being able to design my own website. Looking at many different websites I learnt that some can be cluttered and messy so making them unappealing to people who may enter the sight. I learnt how to plan a website that is easy to follow and simple allowing for users to easily search through the web page finding what they require. An important role in the success of a website that is put up ultimately  comes down to the design (Radu 2015, p.205). Websites are extremely important for sporting organisations to succeed and thrive, as by having an online website you are able to be easily found, and can reach more people than if you did not have a website (Lyfe marketing 2019). Therefore websites provide the ability for sporting organisations to grow. Websites add to the fan experience by allowing fans to be able to access everything about there sporting organisation including news, updates and live scores. This allows for a more interactive fan experience allowing for fans to always been in the loop on what is happening at all times no matter where they are in the world. Hence  this allows for fans to keep connected to the sport they support.

Week 4 Podcast

Podcast YouTube link: https://www.youtube.com/watch?v=4Bzx3gT2zsA&t=1s

Critical Analysis: Within this activity the technical skills that were gained included the ability to edit a podcast. This included using software to add in intro music while also editing out certain parts of the podcast which may have been not interesting. Learning these skills allowed for me to produce a more entertaining and higher quality podcast, these skills can then be used in the future. The emerging media of podcasting has many benefits for a sporting organisation to improve their performance, such as the ability to listen anywhere. What this  allows for is for people to be continuously in the loop of their favourite sporting organisation keeping up with news, whilst also keeping people connected and interested in the sport. With no sport being played at the moment podcasts are a great way to produce a form of content to keep fans attention. With podcasts having one billion results on Google it displays the popularity of this form of media and why it has a major ability to grow a sport (Bradbury 2006, p.297). When sport does start back up fans are still interested and invested in the sport, instead of losing interest due to lack of content over the past few months if there were not podcasts. As “passion fuels motivation” the more passionate and stay with their sport and connected the more likely they are to come back (Sturges 2017, p. 213). Podcasts are a great tool that improves the fan experience as they are free and accessible to everyone and provide greater insights into a sporting organisation. Podcasts provide passionate views on topics and with the ability for fans to send in questions it allows them to interact further , allowing for a greater fan experience and a more engaging one.

Week 6 Photos

Critical analysis: The technical skills that was gained throughout this activity was the ability to take a photo using the rule of thirds and rule of symmetry . This allowed for photos to be more eye catching and therefore interesting to someone viewing the image. This will allow me in the future to take better photos then previously. Images hold a very large part within the sporting industry and are utilised everywhere to display a story and show emotion. This can be seen on newspapers with the front page being an eye catching image that hooks someone into a story. Photos are also timeless with some of the biggest moments in history being remembered by the images that came out of the time. An example of this is  Nicki Winmar lifting his shirt and pointing to his skin displaying how he is proud to be indigenous. Images are captured “at the end of one history and the beginning of another” and are the centrepiece as discussed of many historical events (Sze 2004, p. 19). Photos add to the fan experience as it allows for people to capture a moment in history, which are framed across homes around the world these can include big sporting moments such as a picture of the winning premiership team. “The twenty first century has brought an increase in the role of images” with several new uses including social media (Fendler 2017, p. 751). While images also capture emotion, which on social media allows for people to find out about a story without reading as they say a picture says a thousand words.

Picture of a woman wearing a mask signifying the times we live in. 

Landscape of Townsville displaying the warm sunny weather of the tropics.

A dog sits in between two teddy bears looking into the distance.

Week 7 Interview

YouTube Link: https://www.youtube.com/watch?v=IiMQ-OP8Z8c

Critical Analysis: Technical skills that I gained by creating this interview included creating lighting and sound that is clear and visible. This makes the video more enjoyable to watch, if you had poor audio quality then people would immediately click off the video. Also using software to edit the video and add in sound was a new skill that was learnt through making the interview. YouTube is an extremely popular site world wide which has millions of videos uploaded annually (Magarita 2019, p.1). With just over two billion users worldwide, it is no wonder why YouTube would be utilised by sporting organisations, as it allows for a large amount of exposure to a lot of different people (Oberlo 2019). Interviews are also extremely useful as it allows for sporting organisations to show fans insights into the lives of players and staff at the club which they may have never got to of seen before. This connects the organisations with the fans making them feel a part of their club as they get to know the people at their clubs and also get provided news. As already stated interviews further the fan experience by providing them with insights into the lives of people at their club which were not shown in past years. This insight allows for fans to be feel as though they are more a part of the club, as they know the people within their organisation. This is  compared to years ago where players where fenced off from society and not as publicised with their personal lives as seen these days.

Week 12 Social Media Campaign

Footy fans showing their colours (Herald Sun 2019).

Instagram Campaign: AFL campaign ‘Show your colours’

How it will engage fans/ Purpose: The campaign will engage with fans by getting them to post pictures of themselves in there footy colours during the match. Using the hashtag show your colours it will allow for fans to share their pictures from home cheering on their footy team. The purpose is to keep fans engaged and interacted making them feel a part of the action even if they are unable to attend matches.

Measure of success: The measure of success that will be used is the amount of people that use the hashtag show your colours.

Critical Analysis: The technical skills gained throughout this activity included the ability to look into social media campaigns, and find out what makes a social media campaign successful. This included looking at how “word of mouth advertising” is used by companies to get maximum results, as the more people talk the more people will find out about a campaign allowing it to spread (Yeo 2012, p. 297 ). Social media is an emerging form of media that is extremely important for sporting organisations to continue to grow there business. It allows for people to connect from all over the world and with hashtags such as the campaign displayed it allows for new people to discover the sport and also get involved. “The fan experience for different sporting and entertainment events” is extremely import for the success of a sporting organisation (Hurst 2016, p. 14). So social media is the perfect platform to allow for a greater fan experience at these present times. Social media allows for fans to connect to each other from all over the world. If you’re a Geelong supporter living away from Australia you can still connect with fans of your team and feel as though you are still a part of the action. Especially with fans not being allowed into grounds so far this season it allows for people to get involved as a community and feel a part of something. Otherwise people may become disinterested in the sport they are watching as there is no interaction with the organisation and fans.

References:

Ausstadiums 2020, ‘GMHBA Stadium’, viewed 22 March 2020,

https://www.austadiums.com/stadiums/stadiums.php?id=101

Bradbury, J, 2006, ‘Podcasts’, Lancet Oncology, vol. 7, no. 4, pp. 297-298.

Fendler, L 2017, ‘Reading images in educational history’ Paedagogica Historica, vol. 53, no. 6, pp. 751-762

Gillion McLachlan announces AFL suspension and AFLW cancellation Press Conference, 2020, Fox Footy, YouTube, March 22 2020.

Herald Sun 2019, ‘Richmond Pubs with Grand Final parties , and other ways to watch the match’, viewed 25 May 2020,

https://www.heraldsun.com.au/news/how-to-watch-the-afl-grand-final-at-the-pub-on-tv-and-if-youre-overseas/news-story/4172705b2f957dc85916977109f1dff7

Hurst, R 2016, ‘Delivering the ultimate fan experience’, Australian Leisure Management, vol. 117, no. 12, pp. 14-17.

Lyfe marketing 2019, ‘The Importance of a website for your business success’, viewed 10 April 2020,

https://www.lyfemarketing.com/blog/importance-of-a-website/

Magarita, I, 2019, ‘YouTube Social Network’, Ecoforum, vol. 9, no. 1, pp. 1.

Marygold, S et al. 2011, ‘Toward an interactive: integrating journals and biological databases’, BMC Bioinformatics, vol. 12, no. 1, pp. 175.

Oberlo 2019, ’10 YouTube Stats Every Marketer Should Know in 2020’ viewed 10 May 2020,

https://au.oberlo.com/blog/youtube-statistics

Radu, A. 2015, "Website's Importance as a Marketing European Funds Tool: Access la Success Access la Success", Calitatea, vol. 16, pp. 205-211.

Sturges, A.J. 2017, "Sport passion realization in collegiate athletes: "how fish find water"", Journal of Contemporary Athletics, vol. 11, no. 4, pp. 213-227.

Sze, T, 2004, ‘History Images’, Art journal, vol. 63, no. 4, pp. 19-20.

The AGE 2019, ‘What’s best fit? Geelong mount case for more home games’, viewed 22 March 2020, 

https://www.theage.com.au/sport/afl/what-s-best-fit-cats-mount-case-for-more-home-games-20191221-p53m2y.html

Upland Kapost Blog 2020, ‘Why Create interactive content?’, viewed 15 March 2020,

https://kapost.com/b/interactive-content-examples-benefits/

What a way to bring up your third goal 2020, online video, AFL, 22 March 2020, Twitter,

https://twitter.com/AFL/status/1241309585811496961

Yeo, D 2012, ‘Social-Media Early Adopters Don’t Count’, Journal of Advertising Research, vol. 52, no. 3, pp. 297-308.

[plhis-blog]

Huawei P30 Pro VS Samsung Galaxy S10 Plus

It’s not straightforward whenever you’re making an attempt to match the highest gamers on the DxOMARK record, specifically speaking concerning the 1st and 5th spot holders. The manufactures behind these have given us some legendary telephones and cameras prior to now and I’m fairly positive that they’ve combined no matter they’ve learnt through the years to break boundaries this time around as properly. These smartphones are the delight of the respective manufacturers and are worthy flagships of the yr. When you haven’t guessed it by now (even from the title and footage) then I’m talking about none aside from Huawei’s P30 Pro and Samsung’s S10 Plus.

That is going to be a digital camera showdown fairly than a full telephone evaluation, we’ve reviewed the P30 Pro over right here when you wanna see that. I’ll, nevertheless, try to cover as a lot as I can about these feature-packed cameras however on the similar time, I’ll maintain it concise making an attempt to element and evaluation only what you’d come throughout each day fairly than going all geeky on it.

Once you load the digital camera, you get a very default viewfinder with all the belongings you’d anticipate on both units, from switching between the totally different cameras to the totally different modes that the digital camera gives. Samsung has been progressively slicing down on over-the-top and infrequently used features, not only inside the digital camera app but all through the telephone as properly. I say this as a result of the viewfinder could be very simple with no or very few bells and whistles throughout all the digital camera app as nicely. There’s no “MORE” part with totally different fancy modes that Huawei has neither does it have the graceful skin/beauty impact for the front-facing digital camera. To be trustworthy, me being the geek that I am, I most popular the added bits and pieces that Huawei needed to supply. I acquired to mess around with more modes not as a lot as you’d assume however it’s undoubtedly good to know that it’s proper there once I’d want it.

P30Pro’s wide-angle framing is on point

S10+ does an excellent job in detailing

The P30Pro gets a number of image in a single body

The small print captured from the S10+ are excellent

You’re in all probability leaning in in the direction of Huawei explanation for how function packed it’s going to be and you have to be nevertheless it’s only truthful to offer the S10+ some love as properly cause Samsung focuses all of its tech into the photographs which works most of the time. The features on the P30 Pro won’t be used on the every day however giving that area of interest option to customers if they wanna use it’s a good added bonus, especially when we’ve more content creators arising. With modes like mild portray, shifting image aka GIFs, macro mode plus a bunch of downloadable modes – the chances are infinite! Now however, should you’re a minimalist and all you need is to get your telephone and just click on the picture, Samsung delivers this brilliantly as nicely.

A plethora of Modes to select from on the P30Pro

A relatively simple strategy by Samsung on the viewfinder

Each these units function the similar type of capturing modes: the traditional Photograph mode which masses by default, the pro mode the place you get to tweak the ISO, shutter velocity, exposure and white stability amongst other things, video modes and a portrait mode. Samsung does the Portrait mode a bit in a different way by calling it Reside Focus where you’ll be able to control how the background distorts from the foreground via a number of cool options. Huawei has a dedicated Portrait mode meant for actual facial portraits which helps you to modify the sweetness degree along with a bunch of lighting and bokeh effects which you can select from, whilst also supplying you with the option to zoom in by 3x. The P30 Pro additionally has a type of extension of the Portrait mode referred to as the Aperture Mode which blurs out the background from the foreground relying on what aperture setting you choose which really works for close up photographs of flaura and fauna, meals and so on.

While the S10+ won’t have all of this instantly, it does have a food mode which provides you the choice to adjust the color temperature together with including a radial blur which works alright but I don’t see myself using it as a lot even for meals photographs trigger the default photograph mode works pretty properly anyhow. It was shocking to see that Samsung didn’t supply a dedicated Night time Mode like how the Huawei did, it as an alternative let the Scene Optimizer kick in (if activated) and activate “Bright Sight” which helps you to seize footage with longer exposures (at the least that’s what it was meant to do). Thats kind of what Huawei’s Night time mode does as properly along with supplying you with the option to tweak the shutter velocity plus the ISO degree which fits a very great distance. Huawei has very precisely taken care of dedicating some tech into ensuring that low mild circumstances work nicely.

Talking concerning the scene optimizer on the S10+, that’s a bit of a hit and miss; it doesn’t work whenever you want it to, especially when clicking footage in low mild circumstances. The scene optimizer takes ceaselessly to detect the scene which by no means kicks in the “Bright Sight” mode. It really works somewhat seamlessly when the thing/scene is nicely lit and detects precisely what the topic could be. Huawei having the dedicated Night time mode is certainly a win, it’s a bit of activity although.

Once in Night time mode, the digital camera takes 5 lengthy exposure shot in 5 seconds after which stitches all of them together to make an honest image; undoubtedly missed this on the S10+. This doesn’t imply that the low mild pictures have been superb, they have been alright and typically gave out sensible photographs whereas also giving out some very lossy and blurry footage. Surprisingly, Samsungs image processing works slightly higher than Huawei’s in low mild even with no devoted Night time mode. Both the phones have the trend-setting three digital camera setup: an extremely large angle, a large angle and a telephoto lens. I have to confess that the P30Pro felt a bit extra simpler to only grab and snap when it comes to, it made framing my photographs very straightforward whereas with the S10+ I had to manually modify the lens zoom to get the fitting frame.

The P30Pro has a 0.6x, 1x, 5x and 10x zoom as it’s important zoom setting whereas the S10+ has a 0.5x, 1x, and 2x zoom as it’s principal zoom points. While the S10+ maxes out at 10x, the P30Pro goes all the best way as much as the infamous 50x with its revolutionary periscope lens. Since we purchased up the periscope lens, I’m going to take this chance and geek out a bit. The S10+ homes a 12MP 22mm vast lens, one other 12MP 52mm telephoto lens and a 16MP 12mm lens for the extremely broad setting. The entrance dealing with digital camera eyes home a 10MP 26mm extensive lens along with one other 8MP 22mm large lens for the depth sensor. The primary digital camera module of the S10+ can shoot video in 2160p@60fps, 1080p@240fps, 720p@960fps with the addition of HDR mode and with a neat stability function referred to as tremendous steady. The entrance module shoots 2160p@30fps and 1080p@30fps with Auto-HDR. The digital camera provides respectable video footage but takes a beating in night time mode, hopefully, the new upcoming update to convey a devoted Night time mode will remedy this.

The quad digital camera setup on the P30Pro does a incredible job; I took a detailed digital camera of this close by development website from an ultra-wide to ultimate zoom!

Jumping onto the P30Pro, which boasts the Leica Quadcamera setup; it has a 40MP 27mm extensive lens, a 20MP 16mm ultrawide lens and an 8MP 125mm telephoto lens with 5x optical zoom and OIS enabled. It could possibly shoot 2160p@30fps, 1080@60fp, 1080@30fps with gyro enabled EIS and 720p@960fps. Upfront, it hosts the 32MP broad angle setup and may shoot video in 1090p@30fps.

Now that the numbers are out of the best way, let’s speak concerning the factor you’d in all probability use probably the most – the selfie cameras. I’m not a selfie individual in any respect, however these dangerous boys will make you wanna take selfies each day. Whereas the S10+ holding in keeping with its minimalistic strategy hosts a simple 2 mode setup, regular Photograph mode and Reside Focus mode, for the front-facing digital camera with a wide and barely super-wide lens whereas the P30Pro takes a special route. You get the notorious magnificence filter which can maintain you wanting clean as ever, together with the devoted portrait mode – sure, portrait mode even for selfies! Since we’re on the subject of cool issues, Huawei has a couple of neat features beneath the hood – something referred to as Audio Management which lets you enabled the shutter once you converse loudly into the digital camera and even saying “Cheese” to take these glossy selfies together with the power to click on footage when it detects a smile.

A sneak peak of what the P30Pro has to offer from its function packed digital camera

The S10+ additionally holds a few of these with voice control on a couple of pre-programmed words, a floating shutter button and palm detection seize for those selfies. It additionally has one thing referred to as Shot recommendations which suggests a body that it thinks is the absolute best shot however boy is that incorrect, within the time that I used it I by no means acquired it right. Most of them function their own set of AR lens which makes you some kind of cartoon characters that matches your facial features, which is cool and funny on the similar time. Additionally they have their respective setting lens that scans places nearby, scan QR codes, interprets textual content and object recognition; a definite competitor to Google Lens. HiVision is what the P30Pro has and the infamous Bixby Imaginative and prescient is what the S10+ rocks.

Snippets of different options that the digital camera of the S10+ has to supply

Both the smartphones are undoubtedly prime of their class, I imply they should be given their worth range and hype, they usually do a reasonably rattling good job within the digital camera department. They sport top-notch specs, heavy obligation sensors, crispy and clear photographs with enough in-built features to make you overlook about your DSLR. When you’re on the lookout for a easy and clean viewfinder with a digital camera you’ll be able to depend on, look no additional than the S10+. For those who see yourself exploring with totally different modes, mild portray and need to shoot topics from miles away the P30Pro is what it’s essential to purchase immediately. These cameras may still not be good with their own set of flaws however whatever your sort may be, there’s nothing else out there that may be compared with these and choosing up either one of that is undoubtedly not going to disappoint you!

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Huawei P30 Pro VS Samsung Galaxy S10 Plus

It’s not straightforward whenever you’re making an attempt to match the highest gamers on the DxOMARK record, specifically speaking concerning the 1st and 5th spot holders. The manufactures behind these have given us some legendary telephones and cameras prior to now and I’m fairly positive that they’ve combined no matter they’ve learnt through the years to break boundaries this time around as properly. These smartphones are the delight of the respective manufacturers and are worthy flagships of the yr. When you haven’t guessed it by now (even from the title and footage) then I’m talking about none aside from Huawei’s P30 Pro and Samsung’s S10 Plus.

That is going to be a digital camera showdown fairly than a full telephone evaluation, we’ve reviewed the P30 Pro over right here when you wanna see that. I’ll, nevertheless, try to cover as a lot as I can about these feature-packed cameras however on the similar time, I’ll maintain it concise making an attempt to element and evaluation only what you’d come throughout each day fairly than going all geeky on it.

Once you load the digital camera, you get a very default viewfinder with all the belongings you’d anticipate on both units, from switching between the totally different cameras to the totally different modes that the digital camera gives. Samsung has been progressively slicing down on over-the-top and infrequently used features, not only inside the digital camera app but all through the telephone as properly. I say this as a result of the viewfinder could be very simple with no or very few bells and whistles throughout all the digital camera app as nicely. There’s no “MORE” part with totally different fancy modes that Huawei has neither does it have the graceful skin/beauty impact for the front-facing digital camera. To be trustworthy, me being the geek that I am, I most popular the added bits and pieces that Huawei needed to supply. I acquired to mess around with more modes not as a lot as you’d assume however it’s undoubtedly good to know that it’s proper there once I’d want it.

P30Pro’s wide-angle framing is on point

S10+ does an excellent job in detailing

The P30Pro gets a number of image in a single body

The small print captured from the S10+ are excellent

You’re in all probability leaning in in the direction of Huawei explanation for how function packed it’s going to be and you have to be nevertheless it’s only truthful to offer the S10+ some love as properly cause Samsung focuses all of its tech into the photographs which works most of the time. The features on the P30 Pro won’t be used on the every day however giving that area of interest option to customers if they wanna use it’s a good added bonus, especially when we’ve more content creators arising. With modes like mild portray, shifting image aka GIFs, macro mode plus a bunch of downloadable modes – the chances are infinite! Now however, should you’re a minimalist and all you need is to get your telephone and just click on the picture, Samsung delivers this brilliantly as nicely.

A plethora of Modes to select from on the P30Pro

A relatively simple strategy by Samsung on the viewfinder

Each these units function the similar type of capturing modes: the traditional Photograph mode which masses by default, the pro mode the place you get to tweak the ISO, shutter velocity, exposure and white stability amongst other things, video modes and a portrait mode. Samsung does the Portrait mode a bit in a different way by calling it Reside Focus where you’ll be able to control how the background distorts from the foreground via a number of cool options. Huawei has a dedicated Portrait mode meant for actual facial portraits which helps you to modify the sweetness degree along with a bunch of lighting and bokeh effects which you can select from, whilst also supplying you with the option to zoom in by 3x. The P30 Pro additionally has a type of extension of the Portrait mode referred to as the Aperture Mode which blurs out the background from the foreground relying on what aperture setting you choose which really works for close up photographs of flaura and fauna, meals and so on.

While the S10+ won’t have all of this instantly, it does have a food mode which provides you the choice to adjust the color temperature together with including a radial blur which works alright but I don’t see myself using it as a lot even for meals photographs trigger the default photograph mode works pretty properly anyhow. It was shocking to see that Samsung didn’t supply a dedicated Night time Mode like how the Huawei did, it as an alternative let the Scene Optimizer kick in (if activated) and activate “Bright Sight” which helps you to seize footage with longer exposures (at the least that’s what it was meant to do). Thats kind of what Huawei’s Night time mode does as properly along with supplying you with the option to tweak the shutter velocity plus the ISO degree which fits a very great distance. Huawei has very precisely taken care of dedicating some tech into ensuring that low mild circumstances work nicely.

Talking concerning the scene optimizer on the S10+, that’s a bit of a hit and miss; it doesn’t work whenever you want it to, especially when clicking footage in low mild circumstances. The scene optimizer takes ceaselessly to detect the scene which by no means kicks in the “Bright Sight” mode. It really works somewhat seamlessly when the thing/scene is nicely lit and detects precisely what the topic could be. Huawei having the dedicated Night time mode is certainly a win, it’s a bit of activity although.

Once in Night time mode, the digital camera takes 5 lengthy exposure shot in 5 seconds after which stitches all of them together to make an honest image; undoubtedly missed this on the S10+. This doesn’t imply that the low mild pictures have been superb, they have been alright and typically gave out sensible photographs whereas also giving out some very lossy and blurry footage. Surprisingly, Samsungs image processing works slightly higher than Huawei’s in low mild even with no devoted Night time mode. Both the phones have the trend-setting three digital camera setup: an extremely large angle, a large angle and a telephoto lens. I have to confess that the P30Pro felt a bit extra simpler to only grab and snap when it comes to, it made framing my photographs very straightforward whereas with the S10+ I had to manually modify the lens zoom to get the fitting frame.

The P30Pro has a 0.6x, 1x, 5x and 10x zoom as it’s important zoom setting whereas the S10+ has a 0.5x, 1x, and 2x zoom as it’s principal zoom points. While the S10+ maxes out at 10x, the P30Pro goes all the best way as much as the infamous 50x with its revolutionary periscope lens. Since we purchased up the periscope lens, I’m going to take this chance and geek out a bit. The S10+ homes a 12MP 22mm vast lens, one other 12MP 52mm telephoto lens and a 16MP 12mm lens for the extremely broad setting. The entrance dealing with digital camera eyes home a 10MP 26mm extensive lens along with one other 8MP 22mm large lens for the depth sensor. The primary digital camera module of the S10+ can shoot video in 2160p@60fps, 1080p@240fps, 720p@960fps with the addition of HDR mode and with a neat stability function referred to as tremendous steady. The entrance module shoots 2160p@30fps and 1080p@30fps with Auto-HDR. The digital camera provides respectable video footage but takes a beating in night time mode, hopefully, the new upcoming update to convey a devoted Night time mode will remedy this.

The quad digital camera setup on the P30Pro does a incredible job; I took a detailed digital camera of this close by development website from an ultra-wide to ultimate zoom!

Jumping onto the P30Pro, which boasts the Leica Quadcamera setup; it has a 40MP 27mm extensive lens, a 20MP 16mm ultrawide lens and an 8MP 125mm telephoto lens with 5x optical zoom and OIS enabled. It could possibly shoot 2160p@30fps, 1080@60fp, 1080@30fps with gyro enabled EIS and 720p@960fps. Upfront, it hosts the 32MP broad angle setup and may shoot video in 1090p@30fps.

Now that the numbers are out of the best way, let’s speak concerning the factor you’d in all probability use probably the most – the selfie cameras. I’m not a selfie individual in any respect, however these dangerous boys will make you wanna take selfies each day. Whereas the S10+ holding in keeping with its minimalistic strategy hosts a simple 2 mode setup, regular Photograph mode and Reside Focus mode, for the front-facing digital camera with a wide and barely super-wide lens whereas the P30Pro takes a special route. You get the notorious magnificence filter which can maintain you wanting clean as ever, together with the devoted portrait mode – sure, portrait mode even for selfies! Since we’re on the subject of cool issues, Huawei has a couple of neat features beneath the hood – something referred to as Audio Management which lets you enabled the shutter once you converse loudly into the digital camera and even saying “Cheese” to take these glossy selfies together with the power to click on footage when it detects a smile.

A sneak peak of what the P30Pro has to offer from its function packed digital camera

The S10+ additionally holds a few of these with voice control on a couple of pre-programmed words, a floating shutter button and palm detection seize for those selfies. It additionally has one thing referred to as Shot recommendations which suggests a body that it thinks is the absolute best shot however boy is that incorrect, within the time that I used it I by no means acquired it right. Most of them function their own set of AR lens which makes you some kind of cartoon characters that matches your facial features, which is cool and funny on the similar time. Additionally they have their respective setting lens that scans places nearby, scan QR codes, interprets textual content and object recognition; a definite competitor to Google Lens. HiVision is what the P30Pro has and the infamous Bixby Imaginative and prescient is what the S10+ rocks.

Snippets of different options that the digital camera of the S10+ has to supply

Both the smartphones are undoubtedly prime of their class, I imply they should be given their worth range and hype, they usually do a reasonably rattling good job within the digital camera department. They sport top-notch specs, heavy obligation sensors, crispy and clear photographs with enough in-built features to make you overlook about your DSLR. When you’re on the lookout for a easy and clean viewfinder with a digital camera you’ll be able to depend on, look no additional than the S10+. For those who see yourself exploring with totally different modes, mild portray and need to shoot topics from miles away the P30Pro is what it’s essential to purchase immediately. These cameras may still not be good with their own set of flaws however whatever your sort may be, there’s nothing else out there that may be compared with these and choosing up either one of that is undoubtedly not going to disappoint you!

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Premiere Pro Induction

The Premiere Pro session introduced me to another adobe programme that will be useful for the next three years as well as my career after university. The session mainly focused on cutting and putting together clips, using effects and transitions as well as recapping on After Effects and using it effectively alongside Premiere. 

Using “in and out” markers to select a certain section of a clip makes editing much easier as there is a shorter amount of footage or audio to work with.

Adding effects to footage is an effective way of bringing the content to life- I learnt that applying a certain effect to all works best when put on an adjustment layer and applied to all the clips. This saves time and makes sure all the content is the same. 

Stabilising footage is something that I will most probably have to do on my next project, this was done by applying two track points which stops the side to side and up and down movement. 

When adding audio to footage e.g. a sound track it is often effective to ensure something happens in the footage at the same time as the audio. The easiest way to do this is through dropping markers at these points on the audio and footage and then you can line them up.

Similar to After Effects you can key frame in Premiere Pro although it is better to take the clip out of Premiere and edit it in After Effects. More simple effects such as zooming in or reducing/increasing opacity can be done on Premiere by using the stop watch.

Cutting the content in the work-bar is very easy, all you have to do is drag the audio and video footage to shorten it. Keeping the audio and the footage joined also makes this easier- if you want to edit them separately you have to divide them. 

You can also drag clips to make them fill a gap, this will slightly slow down the speed of the clip and make the sequence flow seamlessly. 

The Lumetri colour effects are a very helpful way of altering the temperature/brightness of a clip- it means that clips that are shot in slightly different lighting by accident can be edited to flow nicely with the rest of the clips. It allows continuity. 

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‘Talking Heads’ — Lip Synch Workshop

To expand on the rotoscope animation of Mo Farah, this workshop will look at the technique of ‘rigged’ animation. Rigged animation consists usually of characters made up of rigged parts which can all be edited individually. To start with, I explored a simple rigged animation using different mouth poses to imply speech which will then be synchronised to some audio to make it even more life-like. However, this technique can be applied to limitless amounts of things. Mainly with characters, their body parts can similarly be moved gradually to imply movement; it isn’t exclusive to the mouth animation I produced. 

Process

The first task was to gather an audio clip of someone speaking about happiness. There was no real limitation to this, as long as it went along with the themes of the brief it would be a suitable thing to sync to. My audio clip was from a friend talking about how music brings him happiness. Subsequently, I used this to inspire the design of my character.

The animation process is usually broken down into two sub-processes. Creating the characters/environments/assets. Then making everything come to life through movement. The first part I was familiar with due to the numerous workshops practising character design I have done in the past. I started with sketching some rough ideas first, trying not to take a long time as the main focus of this workshop should be the animation stage. To match with the idea of music, I wanted the face to feature some headphones which also helped give the character a unique aspect. Once I had an idea I was happy with after 2 or 3 tries, I sketched a more finalised version thinking about how to simplify the face into as fewer assets as possible. This was only because if I wanted to expand on the animation by moving more parts it may get too complicated to understand for me if I had a lot of detail present. Animators will rarely draw detailed, complex characters because the workload goes up exponentially due to how many times they will have to redraw the same character. Keeping it simple means you can get much easier results faster. 

Afterwards was the vectoring and rigging stage. I used Illustrator to visualise my sketch into a more refined character by restricting it to just simple shapes and line work. To rig the mouth, I had to create multiple poses which would correspond to all the sounds the mouth would make. The idea here was to make each mouth pose as close to each other as possible in terms of position/scale so when it is played back as a sequence there are no noticeable discrepancies. 

Once I had all of the assets ready, I then started to synchronise the visibility of the lips with the audio clip. To do this, I used After Effects and put the voice on an audio layer, with the face layer and mouth poses both on top of this. To rig the mouth, I cropped the duration of the layers to only show when each sound is being said. 

Extension

To extend this workshop, I wanted to experiment with combining previous skills I have learnt in animation with those that I have learnt in this one. To do so, I used the same principals of the rigged animation, but used keyframes to blend all of the poses together, before adding movement to the teeth and lips. To do this, I created keyframes for the lips which were made out of paths. This meant that between each key frame it would blend the two path shapes together to create a smooth transition between them. Because I had already placed the right mouth poses at the right time and had already synced the mouth and the voice clip, the process of blending the lips together was easy to do.

After I keyframed the paths of the lips in synch with the audio, the next step was to add the teeth and tongue. Because they had to remain inside the mouth, I did this by creating an ‘Alpha Matte’. This just meant that when I animated the teeth and tongue in a separate pre-composition, they were only visible inside the path of the mouth. To animate these parts, I used the original sheet of lip poses as my reference and simply added keyframes between their two positions (inside and outside the mouth). This then gave the illusion that they were moving inside the mouth separate from the lips, which is how the mouth would move in reality. 

Lastly, to take advantage of the pre-composition feature in After Effects, I added some secondary animation to the eyebrows, glasses, eyes, eyelids and the shadow. I was able to do this because of the ability to animate one feature at a time. Whereas with the GIF timeline/video timeline in Photoshop (the programme I used for the ‘Runners’ workshop, although being more efficient for simple rigged animation, doesn’t allow me to focus on one feature at once. In Photoshop, making once adjustment to a layer will impact the rest of the layers; in After Effects, this won't happen. 

Looking Back

In comparison to the Mo Farah Rotoscope animation, I preferred the more freedom I had during this workshop. From the initial designing factor of the character, to where I took the movement of each part, it was beneficial to expand on the fundamentals of moving image from Eadweard Muybridge’s work to a more modern outlook on animation. Rotoscoping is an easier technique to make something visually accurate as it just requires you to sketch over an already established subject. With rigged animation, it is necessary to not only think about the design of the character but also how it is built up in preparation for the animation stage. The “rigging” needs to be considered so the animation stage doesn’t become over-complicated with trying to make shapes move which weren't prepared to; I encountered this with my own outcome with the eyes. For the extension task, I made the eyes move which meant I had to separate the eye colours from the eye blacks so they could be moved separately. This is an example of how Rotoscoping can be a simpler process, but at the same time more time-consuming. 

Moving Forward

Reflecting on this workshop, I feel like it was a success in terms of developing an idea and expanding my skillset by combining what I already know with a workshop. Learning about the earliest methods of motion graphics from the work of Eadweard Muybridge strengthened my knowledge of how to make things look convincing as well as providing another option for a method I could use. In the future I aim to use After Effects and especially the pre-composition feature to make more refined animations, at the same time as implementing other processes like I did in this workshop. Even if it may be subtly like adding texture from analogue processes. This is something I want to attempt moving on - using previous workshops which use a mixture of analogue and digital processes but using animation on top of all of this. 

[michellelewis7162]

Using Online Healthcare Is At An Oblique Factor

Using Online Healthcare Is At An Oblique Factor

 Online medical care is actually becoming more allowed by each individuals and medical professionals, and also is actually, I feel, eventually at a tipping factor. By 2015 online interaction between physicians and patients and also the routine use interactives media relevant information will be the standard.

 Clients will certainly still be actually observed face to face but our boosted capability to communicate digitally is, as Clayton Christensen has actually put it, a "disruptive technology" that will definitely transform healthcare delivery. Patients and also providers are going to be actually routinely using these new technologies, such as email, telemedicine, digital documents, social networks and also wireless mobile treatments with individuals. This will create medical care extra inexpensive, dependable and easily accessible for all. Option of communication tool will progressively become popular, with individuals having the capacity to make decisions on exactly how to communicate with their physicians based upon ease and price, and also on medical requirement. Progressively video clip consults will definitely be combined in to clinical facilities, along with patients being actually observed both face to face as well as by video recording, phone or even e-mail during the course of the typical clinic treatment Telemedicine Companies. Telemedicine Services

 These improvements will definitely be enhanced and enhanced due to the accessibility of interactives media data. Electronic scientific info will certainly be much more easily available than today for both clients as well as doctors to review, discuss, pass to others for consultations, and also compare to professional databases as well as health condition computer system registries. This records will reside in numerous digital styles - numeric, text-based, audio, digitized freeze frames, video recording, radiologic, genomic as well as 3D streams. It will certainly include data originating from several health care tracking and analysis tools and also from everywhere on call consumer gadgets such as cellular phone. Physicians as well as patients will definitely have to know to get through a "ocean" of data, using new techniques to assess as well as assess the family member relevance of particular data aspects and factors of scientific details. The ability of individuals to study and review their own health and wellness records along with various other arranged records from individuals who possess identical demographic histories or even ailments will certainly increase the power and know-how of clients within the doctor-patient connection, as well as will certainly boost health and wellness decision making by all.

 These 2 modifications are going to imply that by 2015 the connection that a lot of clients have with their physicians are going to possess increased beyond the in-person communication these days, and also are going to progressively occur practically anytime, throughout both online and in-person atmospheres. Medical professionals will definitely require to manage their process differently, and especially are going to must exercise just how to prepare cover for themselves to make sure that they do not end up being confused by steady work related notifications, and clients will need to know that to rely on a considerably circulated health and wellness atmosphere, as increasingly more people get associated with their "treatment" from their close friends on a social media website to a professional from one more condition seen on telemedicine for a second opinion Telemedicine Companies.

 Online Healthcare is a Game Changer

 Could he be talking about how innovation is heading to significantly strengthen the means our company supply and also obtain our medical care? Performs he see brand-new modern technologies as being actually around the bend, and also willing to encircle us and also help our company boost our health? What does he really mean by "on-line care"? Is it sufficient for us to interact with our doctor online, or even should our experts be coming to be involved in on the internet teams and also therapy other patients? Ought to our team have every one of our case histories stored online, and have the capacity to access them ourselves to be sure that they are actually proper. Should our team be putting on electronic displays of our soul, our breathing, our temperature, each of which constantly send our important signs in actual time to the database of our picking? Or should we be undertaking robotic surgical treatment making use of automated devices handled by a plastic surgeon thousands of kilometers away?

 Performs this sound distressing, or even is it a form of "techno-utopia" that our experts should all be actually finding? I can quickly answer that one at least. Techno-utopia, as described through Wikipedia, is "a hypothetical best culture, through which rules, government, and also social disorders are actually entirely operating for the advantage as well as well-being of all its people, embeded in the near- or far-future, when progressed scientific research as well as innovation are going to make it possible for these perfect residing standards to exist; as an example, article scarcity, changes in humanity and the individual disorder, the absence of suffering and also the end of death." Our experts are definitely not near to this Telemedicine Companies.

 Instead of the stationary excellence of a dreamland, others have visualized on the internet health as occurring in an "extropia," an evolving open order allowing people and voluntary groups to create the organizations and social types they like. Possibly the web 2.0 is the beginning of this extropia?

 We must make sure not to be "techno-Utopians" - exceedingly, uncritically accepting of innovations. Individuals such as this don't tend to make use of new modern technologies as properly as they might since they watch the technologies as ends in on their own, certainly not as devices. It is generally held that making use of new technologies uncritically implies peccadillos of the mind. Taking television as an example, one could possibly dispute that this technology has actually led us to concentrate on superficial, fast achievement of understanding instead of on deep thinking and also careful factor to consider. Check out all the "updates attacks" gotten ready for TV - as well as just how if you are learnt media skills, you are actually usually showed to actually talk in other words "attacks" that are actually easily reportable however usually meaningless.

 Health care on the web, in relationship with your doctor, carries out guarantee significant advantages not simply for us all, individuals, medical professionals and culture as a whole, and is actually, to estimate Dr Borg, a "video game changer". Yet in accepting modern technology, the human element has to certainly not be actually forgotten. It is actually not the brains of the innovation that is important but how our team use it to acquire very most benefit for our team, for our youngsters, as well as for community. Our team have to find out to enhance, to regulate, and also to efficiently utilize the devices as well as methods right now available to deliver on the web medical care to enhance our health and wellness as well as, in performing this, to enhance the top quality of our lifestyles Telemedicine Companies.

 If our company look at the potential direction that online health care is relocating, as well as which is being supported due to the Obama Administration, the adhering to concepts appear:

 1. Our future isn't what it used to become, as our company relocate to the time of online medical facilities and worldwide clinicians

2. Our health body is actually slowly altering and also ending up being electronic and also circulated, along with less dependency on properties, and much more on communication systems coming from the clients property to the operating theater

3. Investigation levels up whole brand-new techniques of delivering healthcare, making use of all our senses, and in a much more individualized manner

4. Individuals are demanding much better and more accessible medical care, and will definitely get it from throughout the planet in future

5. The doctor-patient relationship is transforming, as well as will definitely end up being significantly open and also steered by equipped clients living in a relevant information abundant setting - where the Internet is actually vital and progressively important in medical examinations.

 Online treatment is actually a video game changer, as well as our team ought to all embrace it and also know to utilize it to our best benefit.

 Advantages of Professional Online Healthcare Sites

 There are actually many people suffering from different kinds of ailments, some are actually blessed to possess people looking after them while others are actually certainly not that blessed and need to take care of themselves. Everyone around the world generally pertains to the sites as well as blog posts for obtaining details as well as remedies of the general healthcare Telemedicine Companies.

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 The overall folks who are actually coming from a non health care history may utilize the information on call in these web sites to lead satisfied and also healthy lifestyles through observing the pointers that are actually detailed in these internet sites.

 There are a handful of traits you need to always remember while hunting for relevant information as well as also complying with the tips detailed in these specialist healthcare web sites. First consistently keep in mind that certainly not all the sites which contact on their own "professional medical care sites" are actually real. It is an usual idea that only folks struggling with some health problem subscribe for the medical care email lists however this is actually not true. Many people in today times have come to be mindful regarding their exercise degree and have started to focus on the best diet and the methods of residing a balances life style as well as among the most effective means to discover info concerning these subjects is actually to see these web sites as well as additionally enroll on your own for the bulletins as well as various other updates that are actually sent out through these sites regularly.

 Only ensure that you understand excess of which tips to adhere to as well as what to contact the physician just before following. Our experts need to be glad that our experts don't need to run to the doctors for every single tiny reduce or swelling that we possess, our team can now describe these professional health care websites and also obtain some quick remedies as well as can easily reduce our trips to the physicians Telemedicine Companies.

 Take Benefits With Daily Health Care Tips through Online Healthcare Sites

 People repeatedly require daily medical care tips, specifically for folks struggling with conditions and individuals taking care of others struggling with conditions. Daily health recommendations are not generally intended for teaching every thing concerning the healthcare locations and also researches. They can easily be actually quite helpful, when it happens to dealing with particular health conditions as well as conditions. The ideas as well as insight targeted at clients of significant conditions as well as their caretakers can be real lifesaver. This is because, they often come with the dos and also do not that you have to be educated about. They are actually of inexpensive, when they come from acknowledged resources.

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 Outbound Telemarketing as well as Lead Generation Can Help Online Healthcare Stores Gain Huge Profit

 When a medical and also medical care business is actually dealing with receiving brand new consumers as well as allowing aged ones stay loyal as well as correct to all of them, it will definitely additionally make an effort to look at exactly how SEO can assist all of them catapult their on-line business to an even greater amount. Press news releases and a number of high quality information on their web site and also blogging sites can also assist. These are terrific means for these associations to produce buyer enthusiasm, acquire details right into the online search engine and to communicate to people certainly not only locally but likewise abroad. Nonetheless, doing SEO is merely a cut of the entire birthday cake. Through doing SEO or seo, health care providers can target mass audiences in an "undiscriminating" fashion trend. If they perform really want to primarily target business that can easily be qualified as cozy advertising and marketing leads or even purchases leads, it's absolute best that they permit b2b outbound telemarketing companies carry out all the "buzzing" as well as the "chatting".

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 Health care business could have created and built high-quality health care and health care products that may spare anybody's lives. People managing medical care companies might try to sit all around as well as hang around for somebody to respond to their advertising campaigns or those that have actually checked out as well as looked via their Internet web pages and make an effort to create an offer acquiring clinical products as well as items that they require. Luckily for these companies marketing healthcare as well as medical items and companies, they don't need to have to teach their own workers or choose brand new folks to carry out the telecommerce project. Those b2b advertising and marketing top production firms can do that project for them, contacting up firms as well as companies as well as associations as well as attempt to locate out if they do require the items that health care business are providing as well as then receive to the selection manufacturer to finally determine to go for direct appointments with the representative or reps of a certain medical care field.

 Most of the clients of health care companies are folks or even institutions that are actually regularly occupied: doctors, healthcare facilities, clinics, taking care of properties, to call a couple of.

[joedanielburrows]

- 147791 - Joe Burrows - MA Sound Production -

- Bath Spa University- October 2019 -

- Final Major Project -

Album Demo Project - The Masters Of Mayhem

Artist Name : Underkind - Joe Burrows -

Musical Style - Minimal Drum & Bass, Half-time, Break-beat, Left-field, Jungle, Found Sound

1-Masters Of Mayhem

2-The Sighting

3-A Mile Away

4-Optimus Prime

5-Coalition

6- Most Welcome

7-Waster

8-Wealthy

- Objectives.

As there are so many elements involved  within the overall music production process I decided to concentrate on only a few set areas of research for this project. I decided to push these as far as I could within the allocated time frame available. Below are the central points of focus within this sound based project.

- Main Focal Points -

To focus on subtle intertextuality for the use of sonic interest and compositional elements within a  set of bricolage style tracks. These focal points will be demonstrated by taking into consideration certain genre based confinements. To further my sonic signature, narrative / story telling and create/ demonstrate a signature sound within the compositions.

Manipulate results from “found sound” recordings to generate new outcomes with interesting sonic results to use creatively for the use of music production. .

Use technology in an “open” or "play" mode for the creation and development of a sonic identity.  Having the central focus on fluidity within the productions, and functionality whilst still creating a strong sense of a sonic identity within the tracks. The individual compositions will be unique but will still be in keeping with boundaries set by modern dance music's formal structure.

The projects main objective was to produce a series of tracks that had a sonic identity of their own. I aimed to advance my sound production level whilst developing a signature sound through the process.  To produce a series of tracks that not only contained similar sonic landscapes, but tracks that belonged to one another in the sense of their aesthetics, their feel , their arrangements and compositional properties. This project contains audio examples of practice as research and demonstrates the points mentioned above.  I have been able to advance this project to a decent point within the last 4 months of work. I would have liked more time to work on the arrangements. The audio demonstrations are separated into 8 individual tracks. Each track has been made from scratch and worked on within sometimes several different projects. They each also had a different work approach and in turn represents the sonic ideology's behind them. I described the intended outcome as  “bricolage style tracks” which somewhat sums up their compositional angle.

They will eventually make up the majority of an album / demo in which I will be able to approach suitable labels in search for an outlet of my music. This body of work will be eventually released when finally mastered beneath my artist name “Underkind”, and with the title of “The Masters Of Mayhem”.

I will state now that the tracks have all been self mastered in order to get them up to the required audio levels needed to play out on a professional sound system. This part of the process of mastering was not intended to be assessed for this project for the simple reason that I wanted to focus more on the creative side of things , as opposed to the technical. I have acknowledged its relevance in the whole process but will look to working on the audio masters with a mastering engineer at a later date if it's suitable.  I will firstly be using these tracks for my own professional use as a demo. I currently play out to crowds most weekends and get the chance to test my music on giant sound systems. From inception to delivery , I get to see, hear and do it "all" throughout my production process.

For the project I decided to work on more of the creative side, more with arrangement and the sonic identity of the tracks. I decided this early on in week 2 of the project and made this decision to work in a more creatively, open way than my usual production process normally dictates. I was still conscious and fully interested in the technical side of the production process, but chose to “fix”, “mix”, and initially “master” my tracks as a collective that would sit well with each other in a live set after concentrating on the composition. With the strong focus of a sonic identity in mind I decided to push forward in the compositional area when posed with any problems in making production based decisions.

I researched the area known by the Japanese as "Wabi-sabi". To be appreciative of the moment has given me as a producer a much wider set of boundaries in which to work within. I really wanted to try and make each composition a piece of art to some extent. I liken this Japanese art form to my methodology of working because it resembles the ideas behind this project. I truly believe that organised sound can transcend a listener to a “different” place in that given moment. I believe also that musical content can still be equally valid even if it's not been polished to today's high sonic standards. I aimed to be in keeping with the loudness wars that are still thriving within the Drum & Bass scene. I can self master my music and have done with this project to enable the process of playing them out to a crowd within a quick turnaround time. Its hugely beneficial to test them on big systems, to a crowd, it's the real test in fact.

All of the track use sounds from cars in the rain recorded through a fish bowl. Either being disguised, or at the forefront of the mix. This is their first common link and it's through this method that I managed to succeed in giving them a sense of  togetherness as a group of tracks. In a similar way that artists such as J Dilla, Marka, and Timberland use discreet and interesting layers of sound to fill out the frequency spectrum, I have layered sounds in a similar way.   Sounds such as noise from the last section on a vinyl have been used as a “space filler” for many years now. I have found there have been such interesting sonic landscapes emerging through these sort of production techniques. Taking some of these artefacts found in some more hidden bits of the recordings proved to be useful for collecting the sounds together for the project.

- Growth & Development.

To develop the relationships that I wanted these tracks to have with each other needed time like any good creation does. The sounds themselves had to be placed alongside with one another and tested out in so many different situations. Playing sounds through a variety of different effects processors and hardware normally always yielded something fruitful for me to use at a later stage. I guess that's what I mean by “open" or “play"mode that we can go into on a psychological level. I have learnt through my research for this project that creativity can be nurtured and it is something that I have tried to be more aware of throughout my journey as a music producer, let alone as a musician. I found that it was in this state of playfulness that I suddenly seemed to stop caring about certain technical or the musical  properties of the sounds as much as normal , and more just going with the creative flow. Appreciating the sound for its own sake, rather than how “polished"or how “colorful"it was sounding.

Something exciting was happening here. I noticed that when I gave my production and creative time the space it deserved. When I closed the door to the world, I could focus in on sound to such a level that it was a kind of a hypnotic trance of some sort. Total concentration, to a point any way.

I felt like I could really play about with sound in a more interesting and dexterous way when in this particular “play” mode of sound sourcing, manipulation, or experimentations. In comparison to removing tape hiss from a sound, a more technical job on the scale of it, I found that nurturing this "play"mode of creativity was exactly what was bringing about the most unusual results within my productions. Almost seeming like some one else had made it.  I suppose one could say it's production bipolar. This kind of sensation I suppose I could also say was similar to meditation for me, a bit like listening also, something that makes you stop and just seem to breathe automatically.

I found that I can be lost in a world of sound, and this transcending nature of my production process was not as clear to me before this project started. It has also taught me to finish a lot of material and then sit back and pick out the best projects because of their best qualities. My awareness for finding the zone is becoming more apparent the more I produce. This project made me listen from a  more objective standpoint to say the least. It has given me insight into my own compositional practices and given some clarity to my process of audio manipulation and editing. This has in turn also fed information back into my work and will continue to do so from an evaluative point of view.

- Genre Theory , Arrangement & Form.

I researched Genre Theory to learn about the definitions and methods of what constitutes my particular chosen area of music development. I have also researched formal structure. For this project Through this research I have had an insight into how I could fit into a sub-genre within the bigger scene. For example, Drum & Bass music has formal structure . If certain genre based principles are not present, this can suddenly deem the track "outside of the box" and be overlooked by the majority of listeners. This obviously has pros and cons which are not addressed within this document.  I looked into rhythmical diversity and consciously  included this as practice within the percussive elements of several sections of my work. A good example of this is demonstrated within the tracks " wealthy" and "waster". I used my found sound recordings of coins , clicks and resonant chamber recordings in a lifelike kind of way within my productions. This gave movement to the tracks and brought behavioural  life to the forefront of the sonic spectrum.

It unknowingly gives an indirect sense of  familiarity to the listener and is so subtle that most often people don't realise what it's made up of until I reveal the origin. The behavioural content of the sound of a moving car, recorded in the rain through a fish bowl, is most certainly not what you would first think it would be. I believe that through this production technique of layering these sounds and their behaviours together I have been able to create this unique sonic architecture. Its also with these sounds that have been disguised in new ways that have made it possible for my novel ideas and my new tracks to exist. Themes have been important and I am aware that each track seems to have a theme that is apparent throughout its development.

I also had a strong focus of not mimicking anyone else. Its a big thing for me especially after making music for so long. I wish not to copy anyone else's style and let my own signature sound develop and grow naturally as and when it does.

I have been working to achieve an obvious relationship between the tracks to create a sense of a sonic identity within my sets, and/ or compositions. I approach the discipline of DJ set creations in a very similar way to that I do with an individual composition. By this I mean I am always aware of the “story” like nature of electronic composition. I have taken this outlook and applied it to this set of tracks. They are not in any particular order for this project and have been used in a variety of different ways so far when mixing, either in the studio or at events.

- Delivery To A Crowd -

I am lucky enough in the respect of being able to test my music on professional sound systems of varying degrees at regular intervals.  I am always on high alert for the evaluation of crowd response when I do. I also try to take written notes where I can to develop the mix down if it's required. I have the chance to play what I like at my music events so I can usually start off with some sound art and process music to set an intro into motion and unfold the narrative of the set. I managed to test some of the early versions of these tracks.

I have found that it's through the process of playing the track on a big system that I can become very aware of the tracks individual pros and cons. It most certainly always reveals a mix down attribute that I have missed or teaches me about what really works in a live situation. This in another sense also reveals the quality of my mixdown and mastering skills.  I found that through the process of focussing more on the creative side of my production , my technical capabilities were somewhat improving. The technical side also seemed to be the “housekeeping” side of production for me and this became prominent throughout my work.

The process of playing the music out informed me to change the levels of any thing I needed to fix. For example the higher frequencies within the track "Most Welcome" were quite harsh when played on the rig. When returning to the studio the following week it suddenly became much more apparent that the high frequencies were standing out further in the mix than what I wanted in the first instance. Sounds get more pronounced and really become alive on such a big system. When going back into the arrangement page within my sequencer I could quickly locate the delay channel and apply a  subtle 2db reduction to the output. I also went back into the equaliser to check and see what the relationship was like with the top end sheen of the hats or other recordings layered in the background. It was soon obvious that there were frequencies that clashed at this point so I decided to carve out the 2500hz range and attenuate. This was to alleviate the listener from an uncomfortable listening experience in a large speaker setting or headphones to that matter.

For an example, I managed to play early versions of the tracks “Waster”, “wealthy”, “Most Welcome” and “Coalition” this year at an underground Bass music festival in Croatia. This performance was projected over a 40k sound system in an open air space by the water and beach.  These tracks were worked in within an hour long performance in which I mixed around 30 of my own tracks into an hour long seamless set.

This gave me an insight of the impact of the music to a listener and it helped to inform future decisions and really get an understanding of how they transferred on a large system, and to a crowd. I started to work on these 4 tracks in the early stages of this final major project and were essentially the first 4 to be decided on for inclusion of this body of work. It was so amazing to hear these creations over such a sizeable rig at around the half way point of my project schedule. I was also able to test some of the other potentially worthy track candidates at this event but they didn't make the final set because of varying reasons.

There were quite a few other potential tracks for this body of work but that didn't quite make it for one reason or another. Practice as research was highly apparent at this stage of the process and has helped me develop my sound further. It's through this practice and notion of working that informed the work at a later date, this kind of feedback of information led me to make decisions based on the findings. To work with this methodology proved beneficial to the overall progression of the project and in turn fed me information to apply back into itself. With these chunks of information I could then make more educated decisions about sonic, technical, musical and creative aspects of the productions. This then pushed the project into the next stages of development.  

It's also worth noting that a lot of my time was spent at the editing stage. I exercised the art of sound blending, or the merging of sounds. Some frequently used techniques include reversing, pitch shifting, time stretching and equalisation of sounds. These simple and often used production techniques sometimes seemed to yield the best results. We all know about the less is more school of thought. Results with the most interesting characteristics  in my work flow were then eventually included within loop level ideas within sequences. This loop level idea was then arranged into sections and mapped out in the same traditional, or formal structure of 32 bar sections that the Drum & Bass music style demonstrates contently.

The compositional approach at this point was essentially a matter of trial and error. I listened to which elements from the initial "jam" worked well together to create the sonic relationships that I was after. Sometimes a single element on it's own was equally as functional in the arrangement as a full 9 track mix section. Single elements of the composition can sometimes inspire a whole track and it's worth noting that at this stage of the process this can happen. I was in turn not looking for a formula but more a set of sonic textures, and material that could work well in a diverse set of situations.

This creatively open approach to the arrangement of a track is again one of the more enjoyable parts of music production for me. It can also be a challenge to get things to work nicely and flow together welL to start off with sometimes. Arrangement choices can fully change the energy of a track and the  direction of the listeners ear within a second. I wish to work more on my arrangements in the future.  I feel that through doing this project I have improved in this area but would like to work more on this within my compositional practice. I almost naturally started using the same sections that I knew were going to work well as a layered sections, or elements within my sonic experiments.

I solidified the idea of using the car sound recorded in the rain through the reverberant fish-bowl to use as a main and recurring theme within my work in the project. This was used as my signature sound to some extent, but used wisely. You can hear these recordings being used on many of the tracks produced. For example, in "Waster", at 44 seconds the cars are used to tie in the other sounds around it and create an open feel to that part of the track before the drop. This creates the space and tension needed for the drop to be fully pronounced and have full impacting effect. I even use a common production trick of lowering the spacial section by -2db to create a more powerful impact of energy in the track when it drops.  The same sound is used in the track " Right Way".  I reversed the sound into itself to create a breathing notion. This features from 12 seconds in to 22 seconds when it drops. The same sound is again used in "Wealthy" to fill out quite a large part of the frequency range.

It was a very natural sound to fit in around my other found sound within this track. I created the drum arrangement for “wealthy” with the formal arrangement in mind and this informed decisions I made for the composition of this track. I decided to use a steady, heart beat like kick drum to use as the basis to place other sounds around. This track demonstrates the intertextuality of minimal drum and bass genre theory and contemporary dance music practices whist managing to incorporate found sound and contorted audio.

I have made all of the tracks to be placed within my sets as a DJ , continuing on the underground halftime sound.

This part of the project was successful as I managed to create a sonic identity within these tracks. I will continue my work and see what the future holds. If this album does not get picked up professionally then the option to release it under my own name will be another avenue of the music industry I will be willing to explore. The next steps after completing the albums musical content would be to start sorting artwork for it, then the promotional side would follow.

- Demonstrations of Sonic Explorations  -

I created the track Optimus Prime to groove at a different pace and in a different way. I have used intertextuality as the main focus within this track . I used one of my secret weapons of my analogue delay for this track to create the spacial sound over the top. This high end content ties in the whole track and fills out the higher range of frequencies. I used the delay with a long feedback rate to work within the timing grid but still contain fluidity of its dissipation.

The bass within this track was again re- sampled through my trusty old friend the Emu sampler to enhance the presence of the bass within the track .

Wealthy uses found sound as a textural introduction and also as background sounds to create movement and interesting relationships between the groove of the drums and the bass. I chose to keep this track very open and progressive in its arrangement. I have been working a lot on arrangement techniques lately. Real world sounds and their behaviours were then used to create interesting layers and textures which I could use within this composition. The overall aim of this project was to create a set of compositions which were all exemplifying a certain set of sonic aesthetics and this track, alongside “waster” to me seemed to demonstrate this the best.

The track “Sighting” utilises a variety of different production techniques to create an older sounding track. I used an Emu ESI 32 hardware sampler to re-sample the sub bass tones to pass it through the AD-DA converters to maximise its sonic properties. I also used a Tape recorder to achieve a rougher sound to the top end of the bass harmonics, working with a tape recorder gave me the opportunity to add a subtle sonic identity to the track. The bass line got recorded onto tape and then recorded back into the sequencer in mono. I also use the same technique for the drums to add a small amount parallel compression. This was to enhance the weight of the drums within in the mix and pack the sound out in a more controlled way. This usage of tape has been very useful for me in the production process of this project. Recording on tape very often poses the user with results proving to be somewhat different than one another. Because the recording equipment was being powered by a belt drive it had a certain chacteristics that seemed to make it contrast with the cleanlieness of the digital environment. In a positive way.

- Research Conclusion -

Firstly I wish to disclose the fact that this work will eventually be a part of a bigger project.   I will release these tracks, included with the other relevant works from the MA course as one full body of work. The recordings and ideas that have been collected and produced over the last 4 months will form the basis of future tracks and the album, in turn pushing this sonic identity into the present drum and bass scene. I wish to develop this sound further to keep honing the pallet from this collection of material. I believe that over the duration of the course I have been pushing towards a particular area of sound anyway, I suppose in a somewhat natural way.

This method of practice has been an almost natural progression, at least it has been for the way I seemed to have been working on these electronic compositions. Whilst limiting my boundaries specific of the genre it still gave me an amazing amount of creative flexibility, and enhanced my ability to produce in an “open” or “play” mode as an artist. The project is aimed at a certain set of people, within a certain scene, for certain sound systems, and for a certain purpose. I have acknowledged that a lot of this projects content was developed through practice as research. The process from recording to performance has a huge influence on the eventual "product" or track.

As there are so many points for change of direction throughout the production process it can be easy to approach this type of project in an very open minded way. It's with this creative flexibility that I have learned to become more comfortable with my work flow as a composer. I sometimes just let things go in a certain direction and have learned that that outlook on working can have massive advantages. Happy accidents can happen.  I have worked on many different versions of most of these track to get me to the current point. I work in a way to save many different project versions by hierarchy of  date which helps me refer backwards when I need to. This is again all part of me working in an open way and demonstrates being as creatively free as possible.

As a result of this project I have now generated so much material that will be again the foundations of more sonic explorations. Throughout the project I have also managed to maintain a strict discipline of working and have really given this my full creative attention. I produced just over 30 different tracks and collected them into a folder. I worked on the overall "flow" of the eventual  and total  album piece alongside this 8 track collection, and 4 track Ep ideas. This gave me another insight into what tracks worked well together when grouped and surrounded by others. Its  worth  pointing out that at this level, in this case, of “macro" listening, the compositions start to reveal some interesting and inspirational options in which to “steer" a track or the order of arrangement.

Once again the important word here is “arrangement". It seems to be so fundamentally important to the listening experience alongside the production process. If music producers are not aware of the arrangement at all times, and  the energy flows of the music then he/she can loose the interest quite quickly. This is so apparent on a dance floor. Any good dance floor will let you know when something novel needs introducing, or when stagnation can occur on a previously buzzing stage.  The awareness to strike up a healthy balance of the progressive and hypnotic elements in conjunction with the complexities and interesting elements of the art world, sound design and excitement within music really helps out on the dancefloor. I will put some further time towards working on the arrangements of these tracks in the future.

- Equipment & Software.

TECHNICAL BREAKDOWN OF PROCESSES/ EQUIPMENT USED

Logic 10.0

Cubase SX3 + VST5

Squire Electric Bass

Vintage Knight 5 string Bass

A fish-bowl

Akg C414

Shure SM57

Beyerdynamic DT990 Pro Reference Headphones

Yamaha HS7's

Genelec Monitors - (several types)

Alesis 3630 Compressor

EMU – esi32

Sony Tape Recorder

Halion 5.0

Camelion Vst

Waves Bundle

Fab-filter Plugins

Win-pod Software

Soundgrain Software

SPEAR Software

Tascam DM Portable Recorder

Re fx Slayer 2 VST

Alchemy VST

Vanguard VST

Pro - 52 VST

SSL Compressor

Echorder EC444 Analogue Delay Unit

Roland xv 5080

Digidesign 002 Interface

Novation K-Station

Symetrix 544 Quad Gate

Alesis SR16

Pioneer CDJ Nexus MK 2 & CDJ800 MK 2

Pioneer DJM 900

Pioneer

Artists that inspired me for this work -

Om Unit

Special Request

Loxy

Threshold

Photek

Liam Howlett

Pessimist

Ruffhouse

Clarity

Kolective

Bladerunner

Aphex Twin

Amon Tobin

Massive Attack

Chemical Brothers

Phace

Omnio Trio

Moving Shadow

Gremlinz

Aries

Black Sun Empire

Noisia

Erosion

Hyroglifics

Doc Scott

Sully

D-bridge

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Huawei P30 Pro VS Samsung Galaxy S10 Plus

It’s not straightforward whenever you’re making an attempt to match the highest gamers on the DxOMARK record, specifically speaking concerning the 1st and 5th spot holders. The manufactures behind these have given us some legendary telephones and cameras prior to now and I’m fairly positive that they’ve combined no matter they’ve learnt through the years to break boundaries this time around as properly. These smartphones are the delight of the respective manufacturers and are worthy flagships of the yr. When you haven’t guessed it by now (even from the title and footage) then I’m talking about none aside from Huawei’s P30 Pro and Samsung’s S10 Plus.

That is going to be a digital camera showdown fairly than a full telephone evaluation, we’ve reviewed the P30 Pro over right here when you wanna see that. I’ll, nevertheless, try to cover as a lot as I can about these feature-packed cameras however on the similar time, I’ll maintain it concise making an attempt to element and evaluation only what you’d come throughout each day fairly than going all geeky on it.

Once you load the digital camera, you get a very default viewfinder with all the belongings you’d anticipate on both units, from switching between the totally different cameras to the totally different modes that the digital camera gives. Samsung has been progressively slicing down on over-the-top and infrequently used features, not only inside the digital camera app but all through the telephone as properly. I say this as a result of the viewfinder could be very simple with no or very few bells and whistles throughout all the digital camera app as nicely. There’s no “MORE” part with totally different fancy modes that Huawei has neither does it have the graceful skin/beauty impact for the front-facing digital camera. To be trustworthy, me being the geek that I am, I most popular the added bits and pieces that Huawei needed to supply. I acquired to mess around with more modes not as a lot as you’d assume however it’s undoubtedly good to know that it’s proper there once I’d want it.

P30Pro’s wide-angle framing is on point

S10+ does an excellent job in detailing

The P30Pro gets a number of image in a single body

The small print captured from the S10+ are excellent

You’re in all probability leaning in in the direction of Huawei explanation for how function packed it’s going to be and you have to be nevertheless it’s only truthful to offer the S10+ some love as properly cause Samsung focuses all of its tech into the photographs which works most of the time. The features on the P30 Pro won’t be used on the every day however giving that area of interest option to customers if they wanna use it’s a good added bonus, especially when we’ve more content creators arising. With modes like mild portray, shifting image aka GIFs, macro mode plus a bunch of downloadable modes – the chances are infinite! Now however, should you’re a minimalist and all you need is to get your telephone and just click on the picture, Samsung delivers this brilliantly as nicely.

A plethora of Modes to select from on the P30Pro

A relatively simple strategy by Samsung on the viewfinder

Each these units function the similar type of capturing modes: the traditional Photograph mode which masses by default, the pro mode the place you get to tweak the ISO, shutter velocity, exposure and white stability amongst other things, video modes and a portrait mode. Samsung does the Portrait mode a bit in a different way by calling it Reside Focus where you’ll be able to control how the background distorts from the foreground via a number of cool options. Huawei has a dedicated Portrait mode meant for actual facial portraits which helps you to modify the sweetness degree along with a bunch of lighting and bokeh effects which you can select from, whilst also supplying you with the option to zoom in by 3x. The P30 Pro additionally has a type of extension of the Portrait mode referred to as the Aperture Mode which blurs out the background from the foreground relying on what aperture setting you choose which really works for close up photographs of flaura and fauna, meals and so on.

While the S10+ won’t have all of this instantly, it does have a food mode which provides you the choice to adjust the color temperature together with including a radial blur which works alright but I don’t see myself using it as a lot even for meals photographs trigger the default photograph mode works pretty properly anyhow. It was shocking to see that Samsung didn’t supply a dedicated Night time Mode like how the Huawei did, it as an alternative let the Scene Optimizer kick in (if activated) and activate “Bright Sight” which helps you to seize footage with longer exposures (at the least that’s what it was meant to do). Thats kind of what Huawei’s Night time mode does as properly along with supplying you with the option to tweak the shutter velocity plus the ISO degree which fits a very great distance. Huawei has very precisely taken care of dedicating some tech into ensuring that low mild circumstances work nicely.

Talking concerning the scene optimizer on the S10+, that’s a bit of a hit and miss; it doesn’t work whenever you want it to, especially when clicking footage in low mild circumstances. The scene optimizer takes ceaselessly to detect the scene which by no means kicks in the “Bright Sight” mode. It really works somewhat seamlessly when the thing/scene is nicely lit and detects precisely what the topic could be. Huawei having the dedicated Night time mode is certainly a win, it’s a bit of activity although.

Once in Night time mode, the digital camera takes 5 lengthy exposure shot in 5 seconds after which stitches all of them together to make an honest image; undoubtedly missed this on the S10+. This doesn’t imply that the low mild pictures have been superb, they have been alright and typically gave out sensible photographs whereas also giving out some very lossy and blurry footage. Surprisingly, Samsungs image processing works slightly higher than Huawei’s in low mild even with no devoted Night time mode. Both the phones have the trend-setting three digital camera setup: an extremely large angle, a large angle and a telephoto lens. I have to confess that the P30Pro felt a bit extra simpler to only grab and snap when it comes to, it made framing my photographs very straightforward whereas with the S10+ I had to manually modify the lens zoom to get the fitting frame.

The P30Pro has a 0.6x, 1x, 5x and 10x zoom as it’s important zoom setting whereas the S10+ has a 0.5x, 1x, and 2x zoom as it’s principal zoom points. While the S10+ maxes out at 10x, the P30Pro goes all the best way as much as the infamous 50x with its revolutionary periscope lens. Since we purchased up the periscope lens, I’m going to take this chance and geek out a bit. The S10+ homes a 12MP 22mm vast lens, one other 12MP 52mm telephoto lens and a 16MP 12mm lens for the extremely broad setting. The entrance dealing with digital camera eyes home a 10MP 26mm extensive lens along with one other 8MP 22mm large lens for the depth sensor. The primary digital camera module of the S10+ can shoot video in 2160p@60fps, 1080p@240fps, 720p@960fps with the addition of HDR mode and with a neat stability function referred to as tremendous steady. The entrance module shoots 2160p@30fps and 1080p@30fps with Auto-HDR. The digital camera provides respectable video footage but takes a beating in night time mode, hopefully, the new upcoming update to convey a devoted Night time mode will remedy this.

The quad digital camera setup on the P30Pro does a incredible job; I took a detailed digital camera of this close by development website from an ultra-wide to ultimate zoom!

Jumping onto the P30Pro, which boasts the Leica Quadcamera setup; it has a 40MP 27mm extensive lens, a 20MP 16mm ultrawide lens and an 8MP 125mm telephoto lens with 5x optical zoom and OIS enabled. It could possibly shoot 2160p@30fps, 1080@60fp, 1080@30fps with gyro enabled EIS and 720p@960fps. Upfront, it hosts the 32MP broad angle setup and may shoot video in 1090p@30fps.

Now that the numbers are out of the best way, let’s speak concerning the factor you’d in all probability use probably the most – the selfie cameras. I’m not a selfie individual in any respect, however these dangerous boys will make you wanna take selfies each day. Whereas the S10+ holding in keeping with its minimalistic strategy hosts a simple 2 mode setup, regular Photograph mode and Reside Focus mode, for the front-facing digital camera with a wide and barely super-wide lens whereas the P30Pro takes a special route. You get the notorious magnificence filter which can maintain you wanting clean as ever, together with the devoted portrait mode – sure, portrait mode even for selfies! Since we’re on the subject of cool issues, Huawei has a couple of neat features beneath the hood – something referred to as Audio Management which lets you enabled the shutter once you converse loudly into the digital camera and even saying “Cheese” to take these glossy selfies together with the power to click on footage when it detects a smile.

A sneak peak of what the P30Pro has to offer from its function packed digital camera

The S10+ additionally holds a few of these with voice control on a couple of pre-programmed words, a floating shutter button and palm detection seize for those selfies. It additionally has one thing referred to as Shot recommendations which suggests a body that it thinks is the absolute best shot however boy is that incorrect, within the time that I used it I by no means acquired it right. Most of them function their own set of AR lens which makes you some kind of cartoon characters that matches your facial features, which is cool and funny on the similar time. Additionally they have their respective setting lens that scans places nearby, scan QR codes, interprets textual content and object recognition; a definite competitor to Google Lens. HiVision is what the P30Pro has and the infamous Bixby Imaginative and prescient is what the S10+ rocks.

Snippets of different options that the digital camera of the S10+ has to supply

Both the smartphones are undoubtedly prime of their class, I imply they should be given their worth range and hype, they usually do a reasonably rattling good job within the digital camera department. They sport top-notch specs, heavy obligation sensors, crispy and clear photographs with enough in-built features to make you overlook about your DSLR. When you’re on the lookout for a easy and clean viewfinder with a digital camera you’ll be able to depend on, look no additional than the S10+. For those who see yourself exploring with totally different modes, mild portray and need to shoot topics from miles away the P30Pro is what it’s essential to purchase immediately. These cameras may still not be good with their own set of flaws however whatever your sort may be, there’s nothing else out there that may be compared with these and choosing up either one of that is undoubtedly not going to disappoint you!

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