Title: Not Alone
Sunday, May 23, 2010
Friday, April 23, 2010
Artifact 04
Colour Anaglyph
The fourth artifact in this series of experiments (Artifact 4), is the continuation of artifact three and my experimentation on image composed with both moving and unmoving objects. The sequence used for this artifact is the exact same as in artifact three (Artifact 3). However, the technology used is that of color anaglyph 3d, and the results in terms of image quality were far more resonant.
The advantage of color anaglyph technology in this particular instance is the lack of distortion and grain in both the background and the actress. The final product is much more clear and easier on the viewer, as it is less tiring to the eye. Although the film is going to be in black and white, I am still debating whether to incorporate the 3d parts in color or in grey anaglyph, mainly because grey anaglyph behaves poorly in terms of image quality when it concerns mobility.
In conclusion, I believe that color anaglyph technology is more appealing although not ideal for my project, and I will continue to experiment with it throughout this series of artifacts in order to find the best way to create a satisfying 3d product for my project.
Colour Anaglyph
The fourth artifact in this series of experiments (Artifact 4), is the continuation of artifact three and my experimentation on image composed with both moving and unmoving objects. The sequence used for this artifact is the exact same as in artifact three (Artifact 3). However, the technology used is that of color anaglyph 3d, and the results in terms of image quality were far more resonant.
The advantage of color anaglyph technology in this particular instance is the lack of distortion and grain in both the background and the actress. The final product is much more clear and easier on the viewer, as it is less tiring to the eye. Although the film is going to be in black and white, I am still debating whether to incorporate the 3d parts in color or in grey anaglyph, mainly because grey anaglyph behaves poorly in terms of image quality when it concerns mobility.
In conclusion, I believe that color anaglyph technology is more appealing although not ideal for my project, and I will continue to experiment with it throughout this series of artifacts in order to find the best way to create a satisfying 3d product for my project.
Artifact 07
Grey Anaglyph Pixalation
The seventh and last artifact of the series of experiments (Artifact 7), is related to the use of pixilation sequences in three dimensional films. The reason that I chose this particular sequence for my last artifact is because I use this technique frequently as a multimedia practitioner and I was very curious as to how it would look and feel in 3-d.
The sequence that I used is relatively short (roughly 8 seconds), and consists again of two optical layers, background and the actress. Because the sequence was heavily compressed, the original quality was poor in itself and I was unsure whether the 3-d product would be even viewable. However, the effect of pixilation in 3-d is even more compelling, and I will undoubtedly incorporate it in my final product.
In conclusion, this series of artifacts have been an immense help for me, as they enabled me to have a hands-on experience with 3-d technology, try different techniques and appreciate the difficulty and also the aesthetic beauty of the results. I will most certainly keep on experimenting in this fascinating field and try to achieve even better results.
Grey Anaglyph Pixalation
The seventh and last artifact of the series of experiments (Artifact 7), is related to the use of pixilation sequences in three dimensional films. The reason that I chose this particular sequence for my last artifact is because I use this technique frequently as a multimedia practitioner and I was very curious as to how it would look and feel in 3-d.
The sequence that I used is relatively short (roughly 8 seconds), and consists again of two optical layers, background and the actress. Because the sequence was heavily compressed, the original quality was poor in itself and I was unsure whether the 3-d product would be even viewable. However, the effect of pixilation in 3-d is even more compelling, and I will undoubtedly incorporate it in my final product.
In conclusion, this series of artifacts have been an immense help for me, as they enabled me to have a hands-on experience with 3-d technology, try different techniques and appreciate the difficulty and also the aesthetic beauty of the results. I will most certainly keep on experimenting in this fascinating field and try to achieve even better results.
Artifact 06
Grey Anaglyph Less Depth
The sixth artifact in the series (Artifact 6), tackles with two technical problems that I encountered in regard to 3-d technology. It is my first attempt at a sequence that has three optical layers, and also my first attempt at dealing with the distortion and image flickering that comes with 3-d.
The technical conclusion is that the manipulation of the settings of the editing software, where I opted for less depth was successful. The quality is clearly better, the flickering is diminished and the distortion is almost invisible. Having these results helped me immensely as I decided that these technical settings will be used for my final product.
The other problem that I could not get around to was the quality of the sequence when it incorporated 3 or more optical layers. This particular sequence that I chose had a background (trees and leaves), the main actress and a very close shot of the secondary actor. What surprised me the most was that the closest shot was also the most clear, and that as the image pans towards the background the image gets progressively worse. However, the results were far better than the other experiments and techniques that I used before.
In conclusion, this artifact was the most useful to me, and the most revealing in terms of 3-d image quality.
Grey Anaglyph Less Depth
The sixth artifact in the series (Artifact 6), tackles with two technical problems that I encountered in regard to 3-d technology. It is my first attempt at a sequence that has three optical layers, and also my first attempt at dealing with the distortion and image flickering that comes with 3-d.
The technical conclusion is that the manipulation of the settings of the editing software, where I opted for less depth was successful. The quality is clearly better, the flickering is diminished and the distortion is almost invisible. Having these results helped me immensely as I decided that these technical settings will be used for my final product.
The other problem that I could not get around to was the quality of the sequence when it incorporated 3 or more optical layers. This particular sequence that I chose had a background (trees and leaves), the main actress and a very close shot of the secondary actor. What surprised me the most was that the closest shot was also the most clear, and that as the image pans towards the background the image gets progressively worse. However, the results were far better than the other experiments and techniques that I used before.
In conclusion, this artifact was the most useful to me, and the most revealing in terms of 3-d image quality.
Artifact 05
Grey Anaglyph Close up
The fifth artifact that I created for this project is a study of a close-up portrait in 3-d technology. The sequence chosen for this experiment is very short but it is of vital importance to the final product and thus it had to be incorporated in this experimentation.
The concept of this artifact is very simple, as it basically consists of a very short sequence (about 5 seconds) with two layers (background and close-up of the actress’s face). The technique that I chose is a familiar technique that I already utilized in previous artifacts, that of grey anaglyph 3-d.
The main purpose of this experiment is to evaluate the impression of a 3-d close-up compared to a 2-d projection, and whether it is more aesthetically appealing and seems more real in three-dimensional view. The first observation is that the clarity is striking although the technique used usually has poor quality results. Also, I found the 3-d portrayal much more compelling for the viewer and the emotional impact of the film.
Given that the close-up scenes were the reason that I wanted to experiment with 3-d in the first place, as I wanted to convey an emotionally powerful image to the audience, I believe that this experiment has succeeded in its purpose.
Grey Anaglyph Close up
The fifth artifact that I created for this project is a study of a close-up portrait in 3-d technology. The sequence chosen for this experiment is very short but it is of vital importance to the final product and thus it had to be incorporated in this experimentation.
The concept of this artifact is very simple, as it basically consists of a very short sequence (about 5 seconds) with two layers (background and close-up of the actress’s face). The technique that I chose is a familiar technique that I already utilized in previous artifacts, that of grey anaglyph 3-d.
The main purpose of this experiment is to evaluate the impression of a 3-d close-up compared to a 2-d projection, and whether it is more aesthetically appealing and seems more real in three-dimensional view. The first observation is that the clarity is striking although the technique used usually has poor quality results. Also, I found the 3-d portrayal much more compelling for the viewer and the emotional impact of the film.
Given that the close-up scenes were the reason that I wanted to experiment with 3-d in the first place, as I wanted to convey an emotionally powerful image to the audience, I believe that this experiment has succeeded in its purpose.
Artifact 03
Grey Anaglyph More Depth
The third 3-d artifact that I produced (Aritfact 3) contains a short 13 second sequence of my live client project “Not Alone”. The technology used here was the grey anaglyph that already produced much more satisfactory results in terms of shade and depth in artifact 02. This present artifact is an experiment concerning the clarity of moving and unmoving objects in three dimensional projection.
In this particular scene I wanted to observe the contrast between the static trees in the sequence and the high speed movement (running) of the human subject. Also, I tried to give more depth to the sequence manipulating the technical requirements of the editing software. The initial observation is that the background, and specifically the trees are much more clear and distinctive compared to the actress, making it much more difficult for the eye to concentrate on the moving subject. As it turns out, the attempt to give more depth to the sequence takes a toll on the clarity of the image and the quality of the 3d conversion. Even though it would seem that this modification would add to the aesthetics of the sequence, that is not the case.
In conclusion, I would not use this modification in my final product, but I will attempt to find an alternative during the rest of the artifacts.
Grey Anaglyph More Depth
The third 3-d artifact that I produced (Aritfact 3) contains a short 13 second sequence of my live client project “Not Alone”. The technology used here was the grey anaglyph that already produced much more satisfactory results in terms of shade and depth in artifact 02. This present artifact is an experiment concerning the clarity of moving and unmoving objects in three dimensional projection.
In this particular scene I wanted to observe the contrast between the static trees in the sequence and the high speed movement (running) of the human subject. Also, I tried to give more depth to the sequence manipulating the technical requirements of the editing software. The initial observation is that the background, and specifically the trees are much more clear and distinctive compared to the actress, making it much more difficult for the eye to concentrate on the moving subject. As it turns out, the attempt to give more depth to the sequence takes a toll on the clarity of the image and the quality of the 3d conversion. Even though it would seem that this modification would add to the aesthetics of the sequence, that is not the case.
In conclusion, I would not use this modification in my final product, but I will attempt to find an alternative during the rest of the artifacts.
Thursday, March 25, 2010
Artifact 01
Colour Anaglyph
COLOUR ANAGLYPH ARTIFACT 01
The purpose of this series of artifacts originates in my will to incorporate 3d parts in the film that I will present as my final project for this year. The reason that I elected to experiment with 3d techniques was not just the recent surge in 3d films in cinemas around the world, but also the amazing progress of the 3d technology over these last few years, culminating in the “Avatar” phenomenon.
The first artifact of this series was created using the first ever created 3d technique, the colour anaglyph method. Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a chromatically opposite color, usually red and cyan). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the "color coded" "anaglyph glasses", they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.
Anaglyph images have seen a recent resurgence due to the presentation of images and video on the internet, Blu-ray HD disks, CDs, and even in print. Low cost paper frames or plastic-framed glasses hold accurate color filters, which typically, after 2002 make use of all 3 primary colors. The current norm is red for one channel (usually the left) and a combination of both blue and green in the other filter. That equal combination is called cyan in technical circles, or blue-green.
The reason that I chose this particular scene from my film was that I wanted to see how the different 3d techniques would respond to a moving person (in the scene the actress is running at a high speed). At the end of this particular experiment, I believe that even the low-tech option of anaglyph images can provide a very satisfactory result as far as image and aesthetics are concerned.
Colour Anaglyph
COLOUR ANAGLYPH ARTIFACT 01
The purpose of this series of artifacts originates in my will to incorporate 3d parts in the film that I will present as my final project for this year. The reason that I elected to experiment with 3d techniques was not just the recent surge in 3d films in cinemas around the world, but also the amazing progress of the 3d technology over these last few years, culminating in the “Avatar” phenomenon.
The first artifact of this series was created using the first ever created 3d technique, the colour anaglyph method. Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a chromatically opposite color, usually red and cyan). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the "color coded" "anaglyph glasses", they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.
Anaglyph images have seen a recent resurgence due to the presentation of images and video on the internet, Blu-ray HD disks, CDs, and even in print. Low cost paper frames or plastic-framed glasses hold accurate color filters, which typically, after 2002 make use of all 3 primary colors. The current norm is red for one channel (usually the left) and a combination of both blue and green in the other filter. That equal combination is called cyan in technical circles, or blue-green.
The reason that I chose this particular scene from my film was that I wanted to see how the different 3d techniques would respond to a moving person (in the scene the actress is running at a high speed). At the end of this particular experiment, I believe that even the low-tech option of anaglyph images can provide a very satisfactory result as far as image and aesthetics are concerned.
Artifact 02
Grey Anaglyph
GREY ANAGLYPH ARTIFACT 02
The Three Dimensional Cinema (or the term 3-D for short) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer. The technique usually involves filming two images simultaneously, with two cameras positioned side by side, generally facing each other and filming at a 90 degree angle via mirrors, in perfect synchronization and with identical technical characteristics. When viewed in such a way that each eye sees its photographed counterpart, the viewer's visual cortex will interpret the pair of images as a single three-dimensional image. Modern computer technology also allows for the production of 3D films without dual cameras.
During this particular experiment, I utilized the scene from artifact 01 (colour anaglyph artifact), using a grey anaglyph 3d technique instead. The reason behind the choice of the grey anaglyph is the fact that the film is shot in black and white, and thus a grey background will resonate more in terms of shade and depth.
Video games, theatrical films, and DVDs can be shown in the anaglyph 3D process. Practical images, for science or design, where depth perception is useful, include the presentation of full scale and microscopic stereographic images. Examples from NASA include Mars Rover imaging, and the solar investigation, called STEREO, which uses two orbital vehicles to obtain the 3D images of the sun. Other applications include geological illustrations by the USGS, and various online museum objects. A recent application is for stereo imaging of the heart using costly 3D ultra-sound with plastic red/cyan glasses.
Anaglyph images are much easier to view than either parallel (diverging) or crossed-view pairs stereograms. However, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer a wider image on the new HD video and computer monitors.
In conlusion the results that the grey anaglyph 3d technique produces are much more satisfactory, particularly in a black and white shot film.
Grey Anaglyph
GREY ANAGLYPH ARTIFACT 02
The Three Dimensional Cinema (or the term 3-D for short) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer. The technique usually involves filming two images simultaneously, with two cameras positioned side by side, generally facing each other and filming at a 90 degree angle via mirrors, in perfect synchronization and with identical technical characteristics. When viewed in such a way that each eye sees its photographed counterpart, the viewer's visual cortex will interpret the pair of images as a single three-dimensional image. Modern computer technology also allows for the production of 3D films without dual cameras.
During this particular experiment, I utilized the scene from artifact 01 (colour anaglyph artifact), using a grey anaglyph 3d technique instead. The reason behind the choice of the grey anaglyph is the fact that the film is shot in black and white, and thus a grey background will resonate more in terms of shade and depth.
Video games, theatrical films, and DVDs can be shown in the anaglyph 3D process. Practical images, for science or design, where depth perception is useful, include the presentation of full scale and microscopic stereographic images. Examples from NASA include Mars Rover imaging, and the solar investigation, called STEREO, which uses two orbital vehicles to obtain the 3D images of the sun. Other applications include geological illustrations by the USGS, and various online museum objects. A recent application is for stereo imaging of the heart using costly 3D ultra-sound with plastic red/cyan glasses.
Anaglyph images are much easier to view than either parallel (diverging) or crossed-view pairs stereograms. However, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer a wider image on the new HD video and computer monitors.
In conlusion the results that the grey anaglyph 3d technique produces are much more satisfactory, particularly in a black and white shot film.
Monday, November 30, 2009
Monday, November 16, 2009
A side project that I worked on throughout the summer is '' 3 feet under'', a short film dealing with three childhood friends that reunite after a long time. The main theme revolves around a big adventure that guides the characters through loss, gain, joy and pain.
Right now I'm in the process of editing the film, and this is the original storyboard and some production stills.
Right now I'm in the process of editing the film, and this is the original storyboard and some production stills.
Starting my final year in uni Iam thrilled that I got the chance to create a short Tv spot for the Anti-File Sharing Campaign. I found the subject really exciting and current. This is my proposal for this project.
Introduction
This simulation brief project entails the creation of a 20 second advertisement for broadcast on television, as part of a public information campaign by the Copyright Protection Society. The Copyright Protection Society (from now on the client) has commissioned a short audiovisual product, aimed at informing the general public about the illegal practice of file sharing. The purpose of the aforementioned advertisement is to explain what file sharing is, when and why it is illegal, and also the consequences of being involved with this illegal activity.
Overview of the proposal
My proposal for this project is to create a fast-paced audiovisual product, containing both a relevant storyline and visual information in the form of slogans/catchphrases, intending to capture the audience’s attention, pass on the fundamental ideas about file sharing, and impose on the illegality of the act in any form.
The reason that I have decided to present both a short story and intermittent wording explanation, is to emphasize as much as possible on the notion of harmful impact that file sharing as an activity has. Because it is, in essence a criminal act, file sharing affects aspects of everyday life that the public little suspects of, such as the economy and job opportunities around the UK. Thus, I will also attempt to modify the public perception of file sharing as a faceless virtual (and therefore not actually “real”) activity. Indeed file sharing has a face and very real consequences to entire industries that ultimately touch everyone.
General concept of the advertisement
The general concept of the advertisement that I am proposing is has two main dimensions. The first facet is the portrayed storyline, and the second is the “information intervals”, which are essentially bits and pieces of vital information on file sharing, in appropriate wording, all throughout the storyline.
The plot is rather simple in its conception. A young person in its mid-twenties is walking down the street, listening to music on an mp3 player. We watch as a pickpocket approaches him/her, and removes a 20 pound note from his/her pocket. He/she notices the theft, but as he starts to protest, the pickpocket starts to shred the note into small vertical and symmetrical pieces, which he/she subsequently throws up into the air.
The justification for this concept lies primarily in the notion of file sharing itself. A file such as a movie, a musical track, a book or even a document, is shredded into smaller files and then distributed freely to and fro an unlimited amount of users across the World Wide Web. However, none of the intellectual property rights of the criminal activity in essence. The fragmentation and ultimately disintegration of the 20 pound note in the advertisement wishes to portray just that: when you illegally fragment and distribute a file, you essentially take away and destroy someone else’s money, employment, and economic well being. The young man that is being pick pocketed in the advertisement could be a young multimedia student, who will not be able to get a job in the industry due to economic losses coming from file sharing and piracy; it could be the worker in a television or film studio that will lose his job because of the financial cutbacks; the list of people that are affected by file sharing one way or another is exponential, and that is why I have chosen this allegory.
Multimedia designs and project schedule
I have already created a draft storyboard for my proposed advertisement, which I have attached in a digital form to this proposal. I am also in touch with a music composer, to who I have commissioned an original piece of music, appropriate for the theme of the project.
As far as the project schedule is concerned, the time frame for the completion of the project will span from 1st to the 25th of November 2009. The first week (1-16TH November) will be dedicated to pre-production of the project. More specifically, it will include the research for the appropriate filming location, securing the actors, and creating the final script for the advertisement. Since I intend to use my personal audiovisual equipment, I will not need to borrow any such equipment from the University. Also, as part of the pre-production, all the necessary pre-production forms (emergency contacts etc.) will be completed and submitted on time.
Week 2 of the production (9-5th November), will be devoted to filming, which will require two to three days of filming, depending on the weather conditions, the availability of the actors and any other unforeseeable circumstances that might delay the production.
Finally, Week 3 (16-22nd November), will be committed to the post-production of the project, including the editing, mixing, and voice-over of the product. Time is also allotted in case a re-filming is required. The finalized product will then be submitted, along with the production file containing all the necessary supporting documents.
Introduction
This simulation brief project entails the creation of a 20 second advertisement for broadcast on television, as part of a public information campaign by the Copyright Protection Society. The Copyright Protection Society (from now on the client) has commissioned a short audiovisual product, aimed at informing the general public about the illegal practice of file sharing. The purpose of the aforementioned advertisement is to explain what file sharing is, when and why it is illegal, and also the consequences of being involved with this illegal activity.
Overview of the proposal
My proposal for this project is to create a fast-paced audiovisual product, containing both a relevant storyline and visual information in the form of slogans/catchphrases, intending to capture the audience’s attention, pass on the fundamental ideas about file sharing, and impose on the illegality of the act in any form.
The reason that I have decided to present both a short story and intermittent wording explanation, is to emphasize as much as possible on the notion of harmful impact that file sharing as an activity has. Because it is, in essence a criminal act, file sharing affects aspects of everyday life that the public little suspects of, such as the economy and job opportunities around the UK. Thus, I will also attempt to modify the public perception of file sharing as a faceless virtual (and therefore not actually “real”) activity. Indeed file sharing has a face and very real consequences to entire industries that ultimately touch everyone.
General concept of the advertisement
The general concept of the advertisement that I am proposing is has two main dimensions. The first facet is the portrayed storyline, and the second is the “information intervals”, which are essentially bits and pieces of vital information on file sharing, in appropriate wording, all throughout the storyline.
The plot is rather simple in its conception. A young person in its mid-twenties is walking down the street, listening to music on an mp3 player. We watch as a pickpocket approaches him/her, and removes a 20 pound note from his/her pocket. He/she notices the theft, but as he starts to protest, the pickpocket starts to shred the note into small vertical and symmetrical pieces, which he/she subsequently throws up into the air.
The justification for this concept lies primarily in the notion of file sharing itself. A file such as a movie, a musical track, a book or even a document, is shredded into smaller files and then distributed freely to and fro an unlimited amount of users across the World Wide Web. However, none of the intellectual property rights of the criminal activity in essence. The fragmentation and ultimately disintegration of the 20 pound note in the advertisement wishes to portray just that: when you illegally fragment and distribute a file, you essentially take away and destroy someone else’s money, employment, and economic well being. The young man that is being pick pocketed in the advertisement could be a young multimedia student, who will not be able to get a job in the industry due to economic losses coming from file sharing and piracy; it could be the worker in a television or film studio that will lose his job because of the financial cutbacks; the list of people that are affected by file sharing one way or another is exponential, and that is why I have chosen this allegory.
Multimedia designs and project schedule
I have already created a draft storyboard for my proposed advertisement, which I have attached in a digital form to this proposal. I am also in touch with a music composer, to who I have commissioned an original piece of music, appropriate for the theme of the project.
As far as the project schedule is concerned, the time frame for the completion of the project will span from 1st to the 25th of November 2009. The first week (1-16TH November) will be dedicated to pre-production of the project. More specifically, it will include the research for the appropriate filming location, securing the actors, and creating the final script for the advertisement. Since I intend to use my personal audiovisual equipment, I will not need to borrow any such equipment from the University. Also, as part of the pre-production, all the necessary pre-production forms (emergency contacts etc.) will be completed and submitted on time.
Week 2 of the production (9-5th November), will be devoted to filming, which will require two to three days of filming, depending on the weather conditions, the availability of the actors and any other unforeseeable circumstances that might delay the production.
Finally, Week 3 (16-22nd November), will be committed to the post-production of the project, including the editing, mixing, and voice-over of the product. Time is also allotted in case a re-filming is required. The finalized product will then be submitted, along with the production file containing all the necessary supporting documents.
Thursday, March 12, 2009
Friday, February 06, 2009
Corridor
Proposal 16/1/2009
Corridor is a 6 minute film following the life of a young couple, that transitions from the ultimate feeling of love, to the ultimate feeling of hatred. The film is a journey through their surreal and fictional world and through reality. The war of emotions unraveling in their conscience contrasts their complete immobility in their real everyday life.
The film is set in Cyprus, in the city of Nicosia, where the two main characters Valentinos and Melpo live. The locations of the filming will be my house and a basement. The filming will begin at 5/1/2009 and will be completed at 7/1/2009. Also, the initial stage of the production includes several workshops, concerning communication, self confidence and improvisation, which will take place before the filming.
The main concept was derived from a poem, written in 1903 by one of the most prominent and lyrical poets of Greece, Constantine P. Cavafy. The title of the poem is “Windows”. The poem is about the despair of the individual, when he/she faces something new and unfamiliar, the fear of rejection and of the unknown, combined with the notion that windows represent the light, and also the unattainable freedom for the poet.
Based on this concept, the film presents us with a young, professionally successful couple. However, behind the seemingly perfect exterior, an ever-lasting war is waging, with no apparent conclusion. The characters are socially adept, pleasant, and pretending to be a happy couple. That dramatically changes when they are alone together, where they transform into immobile, alienated strangers. The overwhelming emotions are grievance, rage and mourning, for all that is forever lost.
The film sequences are divided into two different parts: the realistic and the fictional part, the latter having a more accurate depiction of their life and true characters.
The film begins inside a lavishly decorated house, where the two characters are sitting on a sofa. At first, a long shot will provide us with the identification of the surroundings, followed by a closer shot, focusing on the couple. Right after, close-up shots of both of the characters, are used to identify their figures into space. Almost immediately, the camera reproduces the initial long shot, and the first scene is completed with a fade to white. White in the film is the color that represents not only the parallel reality that the characters experience, but also the agonizing and never satisfied need for light, and freedom. There will be no music or any sounds in the background, so as to portray the lack of communication and the unwillingness for any kind of interaction.
The second scene is titled “The Space”. We witness the characters inside a four wall room, walls painted white, in the absence of windows and natural light. The initial shots acquaint us with the interior of the room, and then portray the need of the characters to escape this “white prison cell”. Almost like the infamous “white cells”, a well known and internationally prohibited form of torture, we follow the characters on their slow path to insanity, as they try to find the window, the light. The scene is backgrounded with natural sounds, and orchestral music.
The third scene comprises of the original first scenery. The deafening lack of sound, in contrast with the previous agonizing scene, reveals the level of withdrawal, that the characters experience concerning each other in their real lives. This scene from now on will be intermittent throughout the remaining film, at different angles, like a yank back to reality.
The fourth scene is entitled “The Past”. The characters are in an exterior location, in front on a open air fire, and we watch them as they burn their letters to each other, their photographs, literally burning their shared past. Using the technique of “voice over”, we will hear excerpts from the letters they wrote to each other. There will be close-ups on the letters, and circular shots. Here, a close-up of an ultrasound photograph that is burnt, will reveal the loss of a child from their lives, that being the key point of the destruction of their relationship.
The fifth scene is called “The bodies”. The scene is shot in a black background, and the two characters will face each other, in their fictional reality. The overflowing anger, rage, hatred and partially love, will be the cause of another yet of their paranoid fights. Several close- up shots of the struggle are used to convey the intensity and paranoia of the encounter of the couple. The camera simply follows their battle, without intervening in the progress of the scene. Natural sounds of the fight enhance the tragic demise of their love.
The sixth scene is titled “The Soul”. This scene is the ultimate confrontation, the peak of the film, the first and only dialogue between the couple. The script of this dialogue was developed during the improvisation workshops, delivering not only the heightened level of communication between the actors, but also the catharsis between the characters, as they finally dare to speak to each other. The camera is focused on the characters throughout the scene, and profile shots are used to center on each of them and highlight their dialogue. This scene represents the deconstruction of the two main characters. Their terrible secret is finally revealed, the nemesis of their relationship is now in the open, and through a rationale of the irrational the couple fades into oblivion.
The final scene comprises of the intermittent original shot of the first scene, and as it fades to black, we read the source of inspiration for the film, the poem “Windows” by Constantine P. Cavafy.
“The windows
In these darkened rooms, where I spend
oppresive days, I pace to and fro
to find the windows. -- When a window
opens, it will be a consolation. --
But the windows cannot be found, or I cannot
find them. And maybe it is best that I do not find them.
Maybe the light will be a new tyranny.
Who knows what new things it will reveal.
Constantine P. Cavafy (1903)”
I find this story unique, and at the same time universal. Relationships between people in the modern, fast-track, globalised world, have become increasingly strenuous, and demanding. It is not uncommon to watch people staying together out of mere social necessity, even if their love and feelings for each other are long lost. Fear of the unknown and fear of the new has been always one of our greatest inhibitions. This story, in my opinion will appeal to everyone and anyone who has ever loved and seen his/her love betrayed, illusions of eternity cruelly shattered. After all, our entire lives are spent in search of light, and freedom.
Proposal 16/1/2009
Corridor is a 6 minute film following the life of a young couple, that transitions from the ultimate feeling of love, to the ultimate feeling of hatred. The film is a journey through their surreal and fictional world and through reality. The war of emotions unraveling in their conscience contrasts their complete immobility in their real everyday life.
The film is set in Cyprus, in the city of Nicosia, where the two main characters Valentinos and Melpo live. The locations of the filming will be my house and a basement. The filming will begin at 5/1/2009 and will be completed at 7/1/2009. Also, the initial stage of the production includes several workshops, concerning communication, self confidence and improvisation, which will take place before the filming.
The main concept was derived from a poem, written in 1903 by one of the most prominent and lyrical poets of Greece, Constantine P. Cavafy. The title of the poem is “Windows”. The poem is about the despair of the individual, when he/she faces something new and unfamiliar, the fear of rejection and of the unknown, combined with the notion that windows represent the light, and also the unattainable freedom for the poet.
Based on this concept, the film presents us with a young, professionally successful couple. However, behind the seemingly perfect exterior, an ever-lasting war is waging, with no apparent conclusion. The characters are socially adept, pleasant, and pretending to be a happy couple. That dramatically changes when they are alone together, where they transform into immobile, alienated strangers. The overwhelming emotions are grievance, rage and mourning, for all that is forever lost.
The film sequences are divided into two different parts: the realistic and the fictional part, the latter having a more accurate depiction of their life and true characters.
The film begins inside a lavishly decorated house, where the two characters are sitting on a sofa. At first, a long shot will provide us with the identification of the surroundings, followed by a closer shot, focusing on the couple. Right after, close-up shots of both of the characters, are used to identify their figures into space. Almost immediately, the camera reproduces the initial long shot, and the first scene is completed with a fade to white. White in the film is the color that represents not only the parallel reality that the characters experience, but also the agonizing and never satisfied need for light, and freedom. There will be no music or any sounds in the background, so as to portray the lack of communication and the unwillingness for any kind of interaction.
The second scene is titled “The Space”. We witness the characters inside a four wall room, walls painted white, in the absence of windows and natural light. The initial shots acquaint us with the interior of the room, and then portray the need of the characters to escape this “white prison cell”. Almost like the infamous “white cells”, a well known and internationally prohibited form of torture, we follow the characters on their slow path to insanity, as they try to find the window, the light. The scene is backgrounded with natural sounds, and orchestral music.
The third scene comprises of the original first scenery. The deafening lack of sound, in contrast with the previous agonizing scene, reveals the level of withdrawal, that the characters experience concerning each other in their real lives. This scene from now on will be intermittent throughout the remaining film, at different angles, like a yank back to reality.
The fourth scene is entitled “The Past”. The characters are in an exterior location, in front on a open air fire, and we watch them as they burn their letters to each other, their photographs, literally burning their shared past. Using the technique of “voice over”, we will hear excerpts from the letters they wrote to each other. There will be close-ups on the letters, and circular shots. Here, a close-up of an ultrasound photograph that is burnt, will reveal the loss of a child from their lives, that being the key point of the destruction of their relationship.
The fifth scene is called “The bodies”. The scene is shot in a black background, and the two characters will face each other, in their fictional reality. The overflowing anger, rage, hatred and partially love, will be the cause of another yet of their paranoid fights. Several close- up shots of the struggle are used to convey the intensity and paranoia of the encounter of the couple. The camera simply follows their battle, without intervening in the progress of the scene. Natural sounds of the fight enhance the tragic demise of their love.
The sixth scene is titled “The Soul”. This scene is the ultimate confrontation, the peak of the film, the first and only dialogue between the couple. The script of this dialogue was developed during the improvisation workshops, delivering not only the heightened level of communication between the actors, but also the catharsis between the characters, as they finally dare to speak to each other. The camera is focused on the characters throughout the scene, and profile shots are used to center on each of them and highlight their dialogue. This scene represents the deconstruction of the two main characters. Their terrible secret is finally revealed, the nemesis of their relationship is now in the open, and through a rationale of the irrational the couple fades into oblivion.
The final scene comprises of the intermittent original shot of the first scene, and as it fades to black, we read the source of inspiration for the film, the poem “Windows” by Constantine P. Cavafy.
“The windows
In these darkened rooms, where I spend
oppresive days, I pace to and fro
to find the windows. -- When a window
opens, it will be a consolation. --
But the windows cannot be found, or I cannot
find them. And maybe it is best that I do not find them.
Maybe the light will be a new tyranny.
Who knows what new things it will reveal.
Constantine P. Cavafy (1903)”
I find this story unique, and at the same time universal. Relationships between people in the modern, fast-track, globalised world, have become increasingly strenuous, and demanding. It is not uncommon to watch people staying together out of mere social necessity, even if their love and feelings for each other are long lost. Fear of the unknown and fear of the new has been always one of our greatest inhibitions. This story, in my opinion will appeal to everyone and anyone who has ever loved and seen his/her love betrayed, illusions of eternity cruelly shattered. After all, our entire lives are spent in search of light, and freedom.
Corridor
Character study
29/12/2008
The two main characters in this film are the archetypical male and female, in a long-term relationship. Externally, they are perfectly settled in their lives, and financially independent. However, in their personal everyday contact, beyond their exterior, they are governed by the complete lack of interaction between them, an almost sickening immobility.
As far as their emotional portrayal is concerned, we find ourselves immersed in their fictional world, in their conscience. In there, the terrible war that is waging can only be concluded with absolute destruction. The characters were in love in the past, convinced that a child would complete their happiness. However, That was the key point that begun reversing their relationship from the ultimate love to the ultimate hatred, the loss of their unborn child. As the French psychiatrist and philosopher Lacan Jacques observed in his theory of redeployment, it only takes one earth-shattering event to completely reverse the individual’s emotions and views of the Other. This film walks us through the slow and steady path of the final deconstruction of the characters, showing us their emotional instability, resembling to insanity, and the unavoidable end.
Valentinos Kokkinos, the male character appears as a low key individual, deeply hurt, obsessive, self absorbed. He has obvious issues with intimacy, never being able to articulate his problems or needs to his companion. In essence, he is always absent.
Melpo Colombou, the female character. She appears superior to her companion, dominant, intense and dynamic. Her femininity subdues her peers, and presents communicational skills and extrovert character. She is a business woman, successful in her profession.
Their only common point left is self punishment. The absence of interaction, even the most common small talk is unbearable to them, has led Valentinos to obesity, and Melpo to the verge of anorexia.
Summarizing the above, the psyche of the two characters is imminently tragic. These are two people that have been torturing themselves for too long, slowly falling into depression and denial, that only finds a way out through their conscience, their fictional little world. The agony and the pain that their once unconditional love has become, can be witnessed even in their slightest movement, and that is their punishment.
Character study
29/12/2008
The two main characters in this film are the archetypical male and female, in a long-term relationship. Externally, they are perfectly settled in their lives, and financially independent. However, in their personal everyday contact, beyond their exterior, they are governed by the complete lack of interaction between them, an almost sickening immobility.
As far as their emotional portrayal is concerned, we find ourselves immersed in their fictional world, in their conscience. In there, the terrible war that is waging can only be concluded with absolute destruction. The characters were in love in the past, convinced that a child would complete their happiness. However, That was the key point that begun reversing their relationship from the ultimate love to the ultimate hatred, the loss of their unborn child. As the French psychiatrist and philosopher Lacan Jacques observed in his theory of redeployment, it only takes one earth-shattering event to completely reverse the individual’s emotions and views of the Other. This film walks us through the slow and steady path of the final deconstruction of the characters, showing us their emotional instability, resembling to insanity, and the unavoidable end.
Valentinos Kokkinos, the male character appears as a low key individual, deeply hurt, obsessive, self absorbed. He has obvious issues with intimacy, never being able to articulate his problems or needs to his companion. In essence, he is always absent.
Melpo Colombou, the female character. She appears superior to her companion, dominant, intense and dynamic. Her femininity subdues her peers, and presents communicational skills and extrovert character. She is a business woman, successful in her profession.
Their only common point left is self punishment. The absence of interaction, even the most common small talk is unbearable to them, has led Valentinos to obesity, and Melpo to the verge of anorexia.
Summarizing the above, the psyche of the two characters is imminently tragic. These are two people that have been torturing themselves for too long, slowly falling into depression and denial, that only finds a way out through their conscience, their fictional little world. The agony and the pain that their once unconditional love has become, can be witnessed even in their slightest movement, and that is their punishment.
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