Koala Not Bear

Academy Leader – Instant

wtchang — Fri, 02 Dec 2011 22:15:59 +0000

For this project, I decided to use the idea of an instant noodle cup as the basis for my academy leader. Playing with the idea of time and the steps involved in the process of preparing an instant noodle cup, my intention was to transform this student favourite into a dynamic and interesting meal to prepare. After our rotoscoping exercise, I was inspired to take an illustrated rather than a photographic approach so that I would not be restricted by the limitations of my original medium (soggy, too steamy from the hot water, can’t reshoot the same cup, etc) and would also widen my experience in working frame-by-frame. I also chose to use a sound which would be reminiscent of a key step in preparing the instant noodle so that the entire process would not appear too abstract despite its dynamic angles.

Stop Motion Animation Using Jelly beans

wtchang — Mon, 28 Nov 2011 03:53:15 +0000

Academy Leader Sketch – Instant

wtchang — Fri, 25 Nov 2011 16:46:53 +0000

Upular

wtchang — Thu, 24 Nov 2011 05:30:17 +0000

“Upular” is an interesting sound and film remix by POGO which uses content taken from the Pixar movie “Up.” Syncing the remixed track to clips of the original movie, this film demonstrates how you can reinvent existing content simply by cutting and resequencing the visuals and audio tracks. By gradually building the audio with a base melody and carefully overlapping the individual sounds, POGO succeeds in creating a piece which retains the playfulness and charm of the original movie and presenting it in a fresh, inventive way. As well, by approaching the remix as though it was a musical track with a consistent “chorus” and contrasting bridge, the creators are able to generate audio which is enjoyable to listen to.

Similar to how we explored our sound essays, this video exemplifies the importance of accuracy and sequencing in creating a clean, well-executed work able to set a certain mood based on the quality and texture of its sounds. Precision and careful editing of both the visual and auditory mediums are crucial aspects of the video which help to separate it from less professional works. As well, I think that the auditory “abstraction” of intelligible speech into sounds and phrases helps to contribute to the lyrical, songlike feeling that the video conveys.

Project 1: Fusion

wtchang — Fri, 11 Nov 2011 17:39:51 +0000

Working off of both the conceptual and auditory basis of my sound exercise, my film explores the idea of “awareness” within our urban environments and how its characteristics shape our perception of the world around us. With the introduction of new technology, electrical illumination and automation, humanity’s perception of day vs. night, and drowsy vs. awake have become blurred. In transitioning between the two in my work, I intend to evoke a sense of uncertainty, disorientation, and transition within the multidimensional, layered spaces we are a part of within this urban landscape. While we may not completely understand or be able to escape the limitations of this environment, we gradually becomes aware of our surroundings and the space we are encompassed by. In the end, we realize that the city is in a state of perpetual motion, brought to life by the human condition.

Project 1 – Video Sketch

wtchang — Fri, 28 Oct 2011 04:07:36 +0000

Sound Essay: Aware

wtchang — Fri, 21 Oct 2011 02:51:18 +0000

Connotative word: Aware
Transformative words: Emerge, escape

For this exercise, I decided to play on the idea of “awareness” within the context of new technology and forms of artificial intelligence. With all the uncertainty as to how technology will evolve in the future, many speculate about the possibility of computers becoming sentient and gaining an awareness of the world around them. As a result, I decided to juxtapose seemingly mechanical, often overlooked noises with repetitive, consistent sounds found in nature, such as rainfall and the beating of the heart. In transitioning between the two, my goal was to evoke a sense of transition and realization, as the listener gradually becomes aware of his/her surroundings and escapes the empty space which he/she is encompassed by. In the end, it is no longer the surrounding space, but the beating of one’s own heart and the sound of limitations being torn down which captures the listener’s attention.

Exercise 4A: Listening

wtchang — Fri, 21 Oct 2011 02:50:01 +0000

1.Spend 5 minutes listening to the sound of people talking, but without trying to hear what they are talking about.

What are the voices you noticed? Describe the range.

high-pitched voice in the background
consistent variety of middle-ranged voices all around
two deep voices a few metres to the left
higher pitched voice to the right, a few tables to the left
A few mumblers, occasional laughter breaking up the voices, periods of fast speech

Are there other sounds that you notice?

Doors whooshing open and slowly closing
Wind coming in through openings
Clacking of a disposable plastic waterbottle being hit against someone’s arm
Click of mechanical pens/pencils
Music coming out of cheap headphones/quietly from a computer
sound of the drink machine and blender whirring
Plastic bottles being squished to make a popping noise
Footsteps getting closer and farther away
Clacking of fingers on a computer keyboard

Any interesting or notable patterns?

The drink machine comes on consistently, but not in a regular pattern
The undulating bass beat of nearby music
Sounds are constantly echoing around the space

2. Then try to eavesdrop on 2 or 3 separate conversations, one conversation at a time.

Are some voices more prominent that others?

Yes; in convo 1 (left), when the girl speaks excitedly, she is easy to hear; however, the guys she is speaking with are usually louder, so they are more dominant most of the time
When she makes a high-pitched squeal, very easy to hear
In convo 2, the general conversation is hard to make out; murmuring lowly and quietly
Voices often drowned out by others, most likely surrounded by people

What helps you to hear what people were saying?

Helps if I am facing the group of people
Being close to them (proximity); easier to differentiate
Different voice range than surrounding space; higher is easier to hear
How loud the individuals are
Less noise pollution/competing sounds less prominent, helps me hear

3.Then try to listen in on those 2 or 3 conversations at once.

What did you notice about the quality of the sounds?

The sounds were not as clear or distinct; there was more overlapping and the sounds all muddled together
It seemed to become one medium-ranged murmur that was occasionally broken up by high or low vocal exclamations
It was harder to screen out background noises
Sounds started to feel as though they were receding rather than coming forward

Do you notice any adjoining sounds?

There was a clacking noise being produced with the waterbottles from both conversations
Echoes bounced around the room during the conversations

Describe the “acoustic space”.

The acoustic space is very hard. Sounds bounce easily, and part of the space I am in is enclosed which traps and reflects nearby voices and noises. Below, there is a hard, wide open space with doors opening and closing, allowing sounds to both come in and escape. Clear sounds overlap a mixture of muddled, echoing murmurs and speech.

4. Describe your setting, time and important particulars. Reflect on your overall experience and understanding of listening.

The setting I chose for the listening exercise is the upstairs floor of the Student Centre at York University, at 6 pm on a weekday. There are food court tables to my left and right, and behind me is the balcony with individual seating. It is very crowded both upstairs and downstairs since it is close to dinnertime.

From this experience, I found that I needed to focus on specific sounds around me in order to be able to clearly hear and notice a lot of what we usually categorize as “background noise.” I also learned that vocal range can play a significant role in which sounds come to the front or remain in the background of a sound landscape. Furthermore, in comparing the differences between the left and right sides and conversations, I gained a better understanding of multidimensional stereo and surround sound.

Exercise 3 – Loyalty is Dead

wtchang — Fri, 07 Oct 2011 05:19:30 +0000

By Winnie Chang and Tresa Yam

For our video, “Loyalty is Dead,” I think that our results were successful for the amount of time we had. Our original intention was to create the scene out of simple paper; however, by changing the medium to more kid-friendly arts and crafts materials, we were able to create a contrast between the materials and the more mature themes of marriage, fertility, gender roles, death and loyalty. As well, we tried different ways to utilize the mirror in a way which would be more effective than simply seeing the backs of the characters. I think that in the future, we can continue to work on our camera control, how to change lighting while filming, focusing the camera and other technical aspects which would improve the quality of the finished piece.

Lighting Tests and Composition

Exercise 3 – Translation Design Rationale

wtchang — Fri, 30 Sep 2011 17:09:35 +0000

We have chosen to use The Arnolfini Portrait (1434) by Jan Van Eyck as the inspiration for our third exercise. Painted in the Bruges region of the Netherlands, it is believed to depict the Arnolfini couple. However, it is debated whether the woman presented was alive or deceased at the time of its creation. To create this piece, Jan Van Eyck applied thin layers of glaze and used the wet-in-wet oil painting technique to create a sense of realism. We chose to research this work because of our interest in the significance of the symbols and lighting, as well as the interaction between the viewer and the subjects seen in the mirror.

To transmigrate this work, we intend to present the characters, symbols, and imagery as a progressing narrative to build upon its possible meanings and outcomes. Our intention is to blur the lines between the original context of the painting and the paper reality we intend to construct. In doing so, our work explores the transition from two-dimensional to three-dimensional space, and from a static composition to a temporal entity. We plan to use natural lighting (if possible) to emphasize the subjects and to create the range of depth and shadows characteristic of the original work. Our use of colour will be similar to that of the original painting, with bright accents complimented by a neutral set. Movement will be captured in the mirror, which will reflect the characters’ interactions. The camera will start with an overall view of the scene and will slowly zoom in towards the mirror, in which the audience will observe the scene unfold. Hands will come in to interact with the scene, which alters the meaning of each symbol present in the scene. Once the events have finished, the camera will return to its original position to emphasize what is absent from the scene. The camera’s presence, as a part of the actual piece, acts as a reminder of the surveillance or ongoing observation of the audience.The mirror shows how a difference in perspective can influence the outcome and provide further insight into a multifaceted scenario.

Initial storyboard for the camera movement and possible outcomes