Andria's blog

2010-05-23T13:30:00.000-07:00

Live Client Finished Product

Title: Not Alone

2010-04-23T10:25:00.001-07:00

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.

2010-04-23T03:36:00.002-07:00

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.

2010-04-23T03:36:00.001-07:00

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.

2010-04-23T03:35:00.001-07:00

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.

2010-04-23T03:33:00.000-07:00

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.

2010-03-25T17:25:00.000-07:00

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.

2010-03-25T17:19:00.000-07:00

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.

2009-11-30T12:17:00.000-08:00

This is a draft for my Live Client Project. The title is 'not alone'.

2009-11-16T10:09:00.000-08:00

This is a second draft of the 20 sec TV spot.

2009-11-16T09:44:00.000-08:00

The stills that I promised... :)

2009-11-16T09:29:00.000-08:00

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.

2009-11-16T09:07:00.000-08:00

This is my final draft for the 20 sec TV spot project about file sharing.

2009-11-16T08:48:00.000-08:00

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.

2009-03-12T04:30:00.000-07:00

The one minute pilot for the short film 'Corridor'

2009-02-06T11:38:00.001-08:00

2009-02-06T09:47:00.000-08:00

Production Photos

2009-02-06T09:42:00.001-08:00

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.

2009-02-06T09:37:00.000-08:00

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.

2009-02-01T16:38:00.000-08:00

Corridor
Short Film, upcoming project for NTU.

2008-12-15T16:01:00.000-08:00

Storyboard
This is the storyboard created during the group meetings for the documentary 'Daddy's in a band', a project for the Nottingham Trent University.

2008-12-15T15:51:00.001-08:00

Daddy's In a Band
Final Documentary

2008-12-15T15:35:00.000-08:00

Production Photos

2008-12-07T12:03:00.000-08:00

http://paravan.org/

I recently found out about a new, cutting edge theatrical production company, based in Nicosia, Cyprus. The "Paravan Proactions", was created in 2006, aiming to create a platform where young artists, musicians, actors and creative people can collaborate. The basic target of the company is to challenge the relationship between the audience, the space and the show. A close friend of mine is participating in the current project of "Paravan Proactions", as an actor. I was fascinated not only by their imaginative website, but also by their experimental and post-modern approach to the contemporary theatrical scene.

2008-12-01T13:52:00.000-08:00

Making of 'Daddy's in a Band'

2008-12-01T12:54:00.000-08:00

Daddy’s in a Band
Proposal 12/11/08

“Daddy’s in a band” is a four minute documentary following a day in the life of a single father as he juggles the troubles of caring for his young son, whilst also dealing with the stress of becoming successful in his rock band.
The documentary will be set in Raunds, a small town 20 miles from Northampton, where our character Tom Robbins and his 4 year old son Liam live.
Starting in the morning, we will film the routine of getting ready and the walk to school. During the ten minute walk, we will film him talking and joking around with his son, using long shots as well as close up profiles to give the audience both the wide and the finer perspective. The audio will be gentle morning (walking music).
This opening sequence will be used to demonstrate that our story is about an everyday father-and-son so that we can build upon this image as the film progresses – which will later be contrasted by a substantial amount.
In the next sequence we will be following the private time of Tom as he goes about his daily rituals of household chores and composing music. This is the point where we get to know him better through a series of informal questions, finding out about his past and how he came to be in the current situation. We will then learn his hopes and fears as we move on to discuss his views on the present and the future for both himself and Liam.
As he goes about his song writing, we will be finding out details of the band and the contrasting side of his story. This is one of the ways that we are going to build up the overall energy of the film.
We will be using a talking head style of documentation allowing extra cutaways for post-production. This sequence will be done mainly with medium shots with close ups on his face and his hands (for cutaways and to demonstrate his abilities in creating songs and playing guitar etc.). The mask of the contrasting side of the story will be slowly unveiled to the audience from this point. This, we feel, will also display the emotional depth of their relationship. The bond the Father and son have is an immense dependence. Something that we can hopefully pick up on, this will again increase the energy of the film.
As it nears the end of another school day, we set off to pick Liam up from his class – however due to the complications with filming at schools, we have decided to have Tom and Liam walk through the front door with them in the same clothing they did in the morning to show that time has passed. The audience will accept this cutaway as natural as nothing “new” has been shown. This will not only save hitches with filming at school but also practically speaking, moving the crew around. The next shot will be the pair leaving the house with, setting off to the park for a bit of father-and-son time. The subsequent shots will follow-on from the park playtime to dinner, which will be in the park with chips on a bench somewhere. The style will be similar to the morning scene in which the more emotive side of the story will be further investigated. However, we will start to build up the other side of the story at his point – by perhaps switching the style of audio to something a little more “upbeat”.
The succeeding sequence will be the pair once again returning home to get ready for Tom’s gig – during which we will be able to interview Liam informally and alone, finding out about this amazing 4 year old kid. Further questions will enable us to gain insights on his thoughts and views on daddy and his career. This will be a build up towards the other side of the story too. When they return to the house we want to have a few clips of Liam sat behind his own miniature drum kit and answering some simple questions, if we include this into our documentary we will be able to get another view on the situation that the father and son are in. As the questions are directed to Liam we know we will get an honest account on his thoughts due to his age and our audience are likely to be moved by this approach.
We will then attend the gig with two cameras, one onstage and one downstage. We will film Tom at his gig whilst Liam is sat backstage/within the crowd to watch his father.
This part of the film will be the “gem” showing the contrasting side of his life. Most of it will be long and medium shots to show less attachment (series of close-ups conclusively leads the audience to feel more personally in-touch). However close-ups will be included during the shooting stage to ensure enough editing material is available for post-production.
We may want to pursue this bit as if he is out there rocking the world, far beyond reach of his child to enhance the contrast between the emotive and the supposed-to-be-successful detached side but somehow deep down Tom and Liam knows that there is something special they have and nothing will change that – and that is what we are trying to show.
We find this story unique and exciting. We feel in most peoples’ minds the idea of a rock star and a gentle caring father simply can’t coexist. We wanted to investigate how this is possible and most importantly, we think it’s a heart-warming story with a twist that’s worth telling.
At the end of this, we hope the audience will be able to hold back prejudice against single fathers and the general perspective of “single parenting is bad”. Although we are only students, we feel that this is an important part of the society that is often misinterpreted and under-valued – hence the making of this documentary, to show the public even with such an “extreme” career, a good father-and-son relationship can still be maintained. We think that it is important to put this message across as there are so few single dads in the UK. In 2004 there were 254 single fathers as oppose to 2829 single mothers. Only 2% of families had a single father. This shows that Tom is in a fairly unique position and yet he manages to juggle being a good father with trying to become famous.

2008-11-11T14:59:00.000-08:00

BackStage :

Creating a documentary

Even though the documentary is commonly thought as a 'boring' kind of film, I've found that making one is extremely interesting.
The good communication between the group, the mutual artistic vision, and the desire to produce a truly professional piece of cinematography are the elements that bind us together in this project.

Short Plot of the Documentary

Tom Robbins is by night a guitarist and a music composer in an up and coming rock band called "The Arbitors". But during the day he transforms into a normal loving single dad to his four year old son Liam.
This film follows his everyday life, and his struggle to balance fathership and a career in the music industry.

2008-11-11T14:38:00.000-08:00

Documentary Groupwork Shots

Documentary Storyboard

Group Meetings and Brainstorming

2008-11-11T14:12:00.000-08:00

Daddy's in a band!

This year my project for the first term at Nottingham Trent University, is the creation of a short documentary film, titled "Daddy's in a Band".

There's a group of five people including me, undertaking this project, as it is important to compartmentalise our work, in order to complete this demanding film.

My official assignment is director of photography. To explain this as simply as possible, a director of photography is someone who supervises the filming of movies, essentialy being responsible for the look and feel of a piece of cinematography. Three things are necessary to become a good director of photography : training, experience and a good eye. On set, he/she supervises camera and lighting crews, and he/she will work closely with the set designers, costumers and make up artists. The director of photography and the director work closely together to achieve the desired look of a finished piece. A director of photography may also be involved with the post production, working with the sound and colour artists, to develop the film.

2008-04-09T10:35:00.000-07:00

Av coverage by Andria Georgiou of art exhibition by Cypriot artist Angelo Evangelou, showcase in March 2008. Original paintings and works of art presented in Gallery Pantheon, Cyprus.

2008-04-09T09:33:00.000-07:00

The Distillers-Dismantle me

One of my favourite songs from this awesome band!

2008-04-09T09:31:00.001-07:00

My Chemical Romance-I Don't Love You

The technique of black and white is really intriguing especially in main stream video clips.

2008-04-09T09:26:00.000-07:00

http://www.joecartoon.com/

Interesting context and excellent web design.

2008-04-09T09:25:00.000-07:00

My name is Lisa

A very touching video about Alzheimer’s disease.

2008-04-09T09:17:00.000-07:00

David Lynch

David Lynch is a filmmaker, painter, composer, video artist and performance artist. I really like his insight of reality through film and images, the complexity of his aesthetics and presentation and his distinctive and unorthodox approach to narrative filmmaking. Projects like Eraserhead, Rabbits, Twin Peaks, Inland Empire and some of his sort films are truly exceptional

2008-04-09T09:13:00.000-07:00

Shirin Neshat

She is an inspiration for me. First of all because she is a woman and because she represents Middle Eastern culture closes to the Cypriot culture. The fact that an Iranian woman of a strict Muslim background is today acknowledged as one of the premier contemporary visual artists of our times encourages women of all backgrounds to pursue their dreams and aspirations in this field.

2008-02-25T11:20:00.000-08:00

Few days ago when I was surfing on the Internet I found this web site http://www.bitefight.gr/. It is a game that gives you the opportunity to create a character and be a part of the war between werewolves and vampires. I liked it because it is easy and funny.

2008-02-25T10:48:00.000-08:00

More Images !!!

2008-02-25T10:37:00.000-08:00

Second life

In Second Life there are a lot of places to visit, hang around, explore and meet people. Today I made two new friends. I joined some clubs, shopping malls and observed what people is doing in this 3d environment. I really liked a place called Hippie Pay Island because it had great colorful environment, nice music and I had I good time.

2008-01-30T12:48:00.000-08:00

Some of my own work that i did in my free time.

2008-01-30T11:47:00.000-08:00

Some more pictures from my journey in Second Life.

2008-01-30T11:33:00.000-08:00

Second Life

My first thoughts when I created a character in Second Life were not so positive. At first I didn’t like the graphics and after that I couldn’t imagine my self spending time in a virtual world.

Soon all these changed because I realized that as much time as you spend in that kind of games you start appreciate what they have to offer and you start to like them. Furthermore, you have the opportunity to meet people, make friends and visit virtual places. Each day you will catch your self wanting to log in and spend some time in there.

2007-12-02T15:13:00.000-08:00

ONE SHOT final

2007-11-19T17:25:00.000-08:00

Pixilation
Flabbergasted Shoes

2007-11-19T09:13:00.000-08:00

It was a difficult task but i think we manage to do a good job. I think the lighting could have been improved if we had more experience and better knowledge. Even though we had different opinions the result shows that we can all work together.

2007-11-05T11:15:00.003-08:00

STORYBOARD

2007-11-05T11:15:00.001-08:00

STORYBOARD

2007-11-05T11:11:00.000-08:00

Synopsis – “One Shot”

-An interesting short one minute piece focusing on one single male character. We follow the man in a heavily restless state as time slowly counts down. Anxiety and apprehension form the predominant tone of the piece. The male gets down on his knees masked underneath a pillowcase, producing shock and discomfort in the audience, especially when a rifle appears, targeting him. Reality hits: this man is a prisoner, seconds away from execution, and we have just experienced his last few moments of life.

Summary of Action

In short, One Shot is about a man due to be executed.
We are introduced to this man, kneeling and praying. He is in a plain, minimally furnished small room. A clock is ticking. Revealing an agitated disposition, the man gets up and continually taps his fingers on a table. He bites his nails. His eyes twitch and in general, he appears nervous. Unexpectedly, he then gets off the chair, moves a short distance and falls to his knees. Oddly, he then places a pillowcase/balaclava over his head. A gun appears, pointing at the main character. After a short, high anxious pause with the man looking towards his killer and then bowing his head, the screen goes black.

Reasoning

The execution idea is something quite striking or shocking and so means our piece wouldn’t just be a run of the mill student film. It is more challenging as well, being quite a contentious issue. However, without directly telling the audience the nature of the man, there is no reason as to why he couldn’t be presumed a hostage, subjected to the mercy of terrorists, or a prisoner on death row. (Mise en scene would have to leave hints of his true nature.)

The way we open the scene with the man praying would maybe subject the viewer to think that this is a religious man, synonymous with being moral and decent. The ticking clock would draw our attention to time passing, perhaps counting down; exactly what the main character is having to experience. Tapping his fingers and a restless state should raise questions in the viewer’s mind, making them wonder why the man is nervous and what has happened? The act of getting to his knees and placing a balaclava on his head would cause confusion, again questioning the character we have been introduced to. When the gun appears pointing in very close proximity to our character, we realise what is happening and his anxiety becomes understandable: he is about to be executed. This juxtaposed against the prayers we first witness the man carrying out creates quite a strong contrast; it is something of a shock. The man who at first could have been presumed religious; moral, decent, is about to be slaughtered.

Drama could also be perceived in the way the scene opened with the man on his knees praying, and now will end with the man on his knees head bowed again, but for a very different reason: death. Questions would be asked as to what has he done? In general, the audience would question the type of man they’ve been watching and maybe change their opinions of the character, more sympathetic perhaps. When the gun is produced, it surely proves there is no way out for this man. He is alone and he is vulnerable.

The final blacking out of the scene leaves the ending open to the viewer’s imagination. The audience would presume the execution will be followed through, but by leaving the audience with an open end, they are left to their own devices to finish it off, and overall, the piece should have a more resounding impact, being much more striking.

Composition of the film

At first the camera is panning from up to down and we can see a man praying. As the camera is panning away, we can observe his fingers then tap on a table he is sitting at. He is biting his nails and his eyes express his feelings of nervousness. Then he places a balaclava on his head with the camera is zoomed in and focused on his head. The man stands and moves with the camera following. Suddenly the camera zooms out (maybe a quick zoom) and we see a line of people waiting to be executed. Then a gun will appear in the frame of the shot and it will fade to black. The heartbeat will continue for a few more beats, until finally stopping.

Light

One of the most important factors of the mood in a film is light. Therefore, the lighting of this film should reveal the feelings and the atmosphere, which are emphasized with black and white colors, in order to show a distant freeze shot.

Music

The soundtrack of the film will consist of only a heartbeat. This heartbeat will become faster/slower or louder/quieter at different points to match the expressions of the film.

Communication

To ensure an efficient and fluid film process from start to finish, our group members will keep in regular contact, having regular face to face meetings, in addition we will text and email each other. The bonus with email is that we can attach various forms of our work with which the recipient can then read, comment and even adapt, and then return this to the author - furthering a team effort and involvement with our work. Lastly, posting on our blogs and regular updates will accumulatively mean the group are in regular contact with one and other.

Scheduling

To structure ourselves and to ensure maximum effectiveness of what we produce, we began the film making progress from the word ‘go’.

Initially we started off with an afternoon working on genre analysis; that is, looking at relevant examples of single shot films.

From this, we separated to brain storm ideas that could make up the main idea or theme of our piece.

This was then followed up the day after with a group meeting consisting of a couple of hours to present our various ‘sketches’ and discuss the pros, cons, and reality of the individual ideas. The benefits of this are that the ideas were still fresh in our mind and we could toy with them a little more, due to the contribution from all the group members.

From this, we then chose our final idea and assigned individual tasks, which split up the workload but also provided specific focus for each member of the group to work on.

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From here on in, we will be meeting at seminar sessions, and more independent group meetings in our self directed study time, to ensure everybody is afloat with the production of the piece and committing themselves fully to their group responsibilities. Furthermore, everything we do can be analysed from four different perspectives in these group sessions, meaning our work should be of a professional level and not lacking in any way.

We will have to spend time setting up the location, be that light, props, time of day and prepping any extras about their roles. The actual filming of the piece will take a few rehearsals and then no doubt a few takes to ensure the best is captured for the final edit. We will ensure plenty of time is available to get everything right and not have to rush ourselves.

The final edit will comprise of a full group’s involvement: to add titles, adjust colour levels, include and perfect the rhythm of sound with the visual footage. Importantly, we will take into consideration all the group members opinions, so to ensure that everybody is happy and confident with the piece. We may even do several drafts of an edit, meaning that each re-draft we are tightening up our piece, ultimately bettering it’s quality. A test audience could also prove meanwhile

Assigned roles

Ashley took on the writing role for the synopsis and our internal production notes, such as ‘Summary of Action’ and ‘Reasoning behind the Piece’. In addition, Ashley will write the brief communication and scheduling information.

Leanne decided she would like to create the storyboarding for which we will refer when we come to filming. In addition, from previous Media experience, Leanne has a collection of sound clips we could use for our piece, so will be checking through these for items we may need, such as, a ticking clock and heartbeat sounds.

Andria showed an interest in wanting to film the footage, so alongside this, volunteered herself to write a short bit on the mood, tone, colours and general visual makeup of the piece we will produce.

David meanwhile was assigned the task of sourcing a location and bearing in mind all the needs for the idea. This will be documented with pictures and an explanation of the suitability, availability of the location. Furthermore, David has been hoodwinked as the main character and therefore actor, in the piece!