Blog 8A: Superhero Powers

Click here to listen to the First Act of "Superpowers"

Easiest assignment ever. Spider man is the superhero of all superheros (Superman sucks). Although I haven't had any experiences like Chris Ware where I thought I was actually a superhero or wore a costume hoping that someone would think for a split second "that guy is a superhero!", I used to dream about slinging webs out of my wrists and saving hot babes from complete destruction. You could go anywhere, but unlike teleportation, you get to experience the traveling in a whole new way. Of course, I never dreamed about being evil. I always wanted to be the superhero, never the villain. Superpowers are meant for helping people who cannot help themselves. I am drawn towards both Peter Parker and Spider man because one is easy to relate to and one is easy to dream about. Peter Parker is a completely normal guy, just like me, but also has the ability to change into Spider Man. This inspired me in ways to try and transform myself into something greater than myself.

Extra Credit Assignment

Here is a picture of a research project at the Creative Expo

The project was about a new way to store information using three dimensional hologram space instead of traditional two dimensional ways like CD's and blu-ray disks. Although I looked at a lot of other creative projects, this scientific one caught my eye. The student involved with the project explained the process to me, which involves a lot of chemistry and math, but I didn't understand it completely. He said they are using a new compound that is easily created to store information, and storing it in a 3D area allows a lot more information to be held than before.

Hero/Villain Assignment

Villain Picture

Villain Animation

Joke Video Critique

I chose to contrast my video with this video

 There are noticeable differences within the first few seconds of each video that helps contrast the two and stand them apart. One example is the use of lines. The other video has a very strong usage of lines made by the table, couch, and counters that helps frame the main character and separate them from the rest of the background. In our video, the usage of lines was a lot weaker and may have negatively affected our video. Although it was weak, there were still some lines that helped frame the main character in our video, like the implied lines from all of the office supplies and the card on the table. 

Another key aspect of the videos is movement. There is an affinity between the videos when it comes to using movement to emphasize important objects in the shot. For instance, to emphasize the train in the other video, nothing else is moving while the character plays with the train. The same goes with the bandana being put on the main character in our film; while it is being tied, nothing else is moving in the tightly framed shot. This being said, the movement during the office scene may take away from the phone call, but it places importance on the frantic and busy aspect of the scene.

Overall, both videos utilize these key topics to enhance the quality and effectiveness of the film. The video my group created is below, and the other video can be found with the link above.

 

Video Game Audio Critique

In a video game, lighting is very important because it helps focus attention on important objects, invoke emotion, and create shape and depth. I chose portal 2 because it has an aesthetically beautiful environment with creative and puzzling game play.
A good example of using lighting to create emotion is given right at the start of this level. After falling through a tunnel, you end up in a mysterious place, with bright fires that create harsh shadows in the corners.
PAUSED: The hard lights that point to the wall helps the player identify which walls they can shoot portals at. There are three lights; one closer to the player that is usable, one that is not, and one that is usable but on the other side of the fence. Without those intense lights above the walls, it would be difficult to separate them from the rest of the less intensely lit environment and would result in much slower game play through a part that is supposed to be pretty easy.
Most of the usable walls are lit with lights, especially if they are far away. Here are a few examples.
If this tiny pathway wasn't lit brighter than its surroundings, many players wouldn't think to jump and walk on it. Because it is brighter, it is separated and easily identified.
When the "do not enter" signs start popping up, the player knows that something difficult is coming up. The lighting creates an affinity with the danger signs when it progressively gets darker as the player moves on, up to where it is almost black. The game designers put this as a very symbolic way to create a buildup of suspense when traveling down this path.
PAUSED: The way lighting can create space is used when the player looks up at the ceiling of this seemingly endless room. The top of the room through the fog seems to be really bright, reinforcing the idea that you are reeeallly far down when contrasted with the dark corners that are all around you. It is also very blue, creating a mysterious or sad emotion, while dispersing throughout the entire room. When the light gets more dispersed, it helps create distance between the player and that object.

Video Response to "How to be Creative"

How to be Creative

(The video above is just me reading what is below. It kept cutting out because I couldn't simultaneously read what I wrote and record at the same time, and however I am exporting seems to be incompatible with blogger. Below are some of the images that I put in the original video)

After reading more and more of these "How to"'s, '#' steps to spark creativity manifestos, I agree with them less. I've come to the conclusion that the summation of all these writings, put together in one sentence, speaks "You don't need to read these". Differences aside, they all convey the idea that creativity resides within yourself. I feel the same about these blogs, but I understand why they are required.

I did agree with the "dying young is overrated" step, but that's probably because I get extremely annoyed with drugs. From taking adderal to study for a big test to using dangerous drugs in order to get that "creative edge", it all bothers me. If you can't pass the class without using adderal, then you shouldn't be taking the class, and if you can't make a great piece of art without smoking weed to see the vision, then you shouldn't be creating the art in the first place. That is like giving marijuana a title of "co-author", and if I'm going to do that, then weed better start scheduling some shoots or getting me coffee or something.

Even before finishing the first step to "being creative", I found myself in disagreement with the author. "Ignore everybody". I'm pretty sure a blog we read or a video we watched last week stated that great ideas are found in the combination of smaller ideas between people. I believe that the greatest story ever created doesn't have one author. Listening is an important skill, and being able to use constructive criticism to your advantage is even more important of a skill. Do not ignore anyone; that 'spark' of creativity might be encoded in their words when they tell you that your idea sucks.

I am in between agreeing and disagreeing on the last step I picked, which states that the most important thing a creative person can learn, professionally, is to draw the red line that separates what you are willing to do and what you are not. I agree with MacLeod that a line should be created, but I think what a lot of people do is create the line too close to familiar ground instead of venturing out a little bit farther, and I think that's where a lot of artists tend to sell themselves short. You have to keep going until you get a little uncomfortable, go a little bit more, then settle down for a bit. Once you get comfortable with that, repeat. I don't think you should ever take a permanent marker, draw a line, then say "I'm not budging from this spot". World changes too fast for most people to do that and still "climb their everest", reaching that highest goal that they set out for. Get a dry erase marker instead, and draw with that.

Memento Audio Critique

For some reason, the audio part of these videos do not seem to work right. I've typed out basically what I said, and the pauses are still in the video

Additionally, blogger refuses to upload the video every time I try to export. The original video is here, but the times will be off. Hopefully I can get the video up soon

0:15 eyes are lead to the object by lines of fingers and use of lighting
0:24 Teddy is framed by the stair railing
0:47 space is created in the hallway when he picks him up and slams him on the other wall
0:51 during the conversation, your eye has to move across the screen, showing the harsh contrast between the characters
1:08 paused: a great example of framing. Leonard is framed by the white curtain in the background, while Teddy is framed by the darker walls. The lines used in the video help subconsciously make decisions on what we think about the characters. There is not very many visual depth cues, which might make the hallway seem very small and compact.
1:45 paused: this part is really interesting. When it cuts to the wife from Teddy, the eye has to move, but when it cuts to the wife from Leonard, the eye does not have to move at all. This creates a connection between Leonard and the wife, while creating distance between Teddy and the wife. When it cuts from Teddy to the needle, however, the eye does not need to move at all.
2:24 as the conversation gets less heated, albeit more interesting, the eye has to travel less distance between Teddy and Leonard. This is at the turning point where the audience begins to believe Teddy over Leonard.
3:26 Leonard is framed by the small, cracked pillar.  The lines don't go past the screen, symbolizing his diminishing foothold on the truth and his power in the conversation.
4:19 The lines created by his fingers lead the eye straight to the photo

Visual Framing

Original Photo by Sally Mann

Reframed

This photo, taken by Sally Mann, encompasses a variety of skillful photo techniques that affect the viewer subconsciously. In the original, the usage of lines is very powerful with the horizontal band running across the child's eyes, his arms following the same pattern underneath, and the vertical object coming up by his chest. All of these lines lead the viewer to the head and upper chest of the child. Although blurred, the background is still distinguishable as a pond with the bank on the other side. The water acts as a depth cue, but not very well because of the blur and angle of the photograph.

By re-framing the image, I emphasized the bottom left section of the photo. Although the use of lines is still apparent, it is much weaker than in the original because there is less of it. By focusing in on part of the photo, the background has also become much more dissolved, creating an ambiguous space. Also, by realigning the photo, the use of the rule of thirds is much stronger. The band falls right on the top third line, which helps create points of interest and is the first spot your eyes look at.

There are many obvious affinities between the two photographs, such as use of lines and rule of thirds. The photos are contrasted in many ways as well, such as the shot type. The first picture is more of a medium shot from the waist up, while the re-framed picture is much closer. Just like the Hung Fuey (or whatever it was called) cartoons, when the shot gets closer, there is usually more emotion or it is more intense.