After finish watching the Spartacus Blood and Sand show last night i couldn't believe how great a show had an affect on me and found thsvideo of behind the scenes which got me thinkingof how itcould help witht the prduction of my film.
Saturday 24 April 2010
Contextual and Theoretical Studies Week 11:Identify an Artifact-use 3 Academic Texts
Again specific to your essay subject identify one particular relevant artefact, this could be an image, a video game and animation, an advert a film etc, and identify and summarise 3 texts that extend your understanding of this artefact, the texts must be academic and you must demonstrate how the texts help you to further analyse the work i.e. what positions are the texts taking on the work, where are they saying things the same and where are they differing? Why might this be?
The artefact I have chosen is the video game known as Prince of Persia-
My first piece of text is:
‘In 3D modelling it is essential to have a good understanding of 3D space and the ways in which it is represented in two dimensions. It is important to develop a good spatial sense, and the terminology of 3D must be learned and understood.’
This text helped to analyse the artefact much better as it is written to tell the creator that in order to get the better creation of a 3D model is to envision how it will be perceived through a two dimensional view and that that is the way to understand the basic ideas of 3D within gaming. This piece of text showed me that creating a 3D model for a game is only well received by the viewer if the areas that are visible to the viewer are shown with perfection, so focusing on a singular part of armour of the character wouldn’t help with the overall product.
The second text I have found is:
‘A large part of a game artist’s job involves the creation and application of textures. Textures are digital images applied to 3D surfaces to give them the appearance of different materials such as brick, wood, or fabric.’
The position that the text is taking upon the artefact is that it shows the stage behind the production in which textures play a huge role in how good and realistic a character, building or other objects are, as the texture of the game helped me understand that if it was a character model running or moving around it would seem boring but enhancing the product with visual approvals and allow the gamer to acknowledge the difference of a character to another.
The third and final text is:
‘How many polygons are there in a low poly model?,,, It also depends on the intended use for the model-one that will appear in numbers (such as a wall lamp) will need to be very low in polygons, while a set piece model, one intended to be the showpiece or visual highlight of a level or map, may be very high in polygons compared to the average model for a given game or game engine. ’
The final text that I have chosen is one which I feel helps unveil the method of creating the objects and characters within games and that was told to me by reading that characters are made up of polygon shapes which are moulded to form the characters. But not only of how they are created but how they are used because in the text it is told that depending on what the hardware the polygons are used upon for example if they are used for a army battle where there are multiple fights going on then the amount of polygons would need to be high in the game model.
Final analysis:
Each text has developed an understanding of the game in its production stages as each text unveils how the game model such as characters are only modelled with detail depending on what is seen, textures play a vital role in distancing certain objects from another and a poly model is what actually makes up a variety of objects within a game.
The texts are saying some similar things such as how their subject is what makes up a game but what differentiates them from each other is that 3D modelling understands what is meant to be shown, where as textures are helping to establish the detail to give it more of a realistic look and that polygons are helping the game to accomplish multiple battles or making up the 3D models and objects for the textures.
This is because with each having their own unique specialty, which helps to create a game which focuses on upgrading the detail and look of a game because of looking at ideas in a different way to create something which is unexpected.
The artefact I have chosen is the video game known as Prince of Persia-
My first piece of text is:
‘In 3D modelling it is essential to have a good understanding of 3D space and the ways in which it is represented in two dimensions. It is important to develop a good spatial sense, and the terminology of 3D must be learned and understood.’
This text helped to analyse the artefact much better as it is written to tell the creator that in order to get the better creation of a 3D model is to envision how it will be perceived through a two dimensional view and that that is the way to understand the basic ideas of 3D within gaming. This piece of text showed me that creating a 3D model for a game is only well received by the viewer if the areas that are visible to the viewer are shown with perfection, so focusing on a singular part of armour of the character wouldn’t help with the overall product.
The second text I have found is:
‘A large part of a game artist’s job involves the creation and application of textures. Textures are digital images applied to 3D surfaces to give them the appearance of different materials such as brick, wood, or fabric.’
The position that the text is taking upon the artefact is that it shows the stage behind the production in which textures play a huge role in how good and realistic a character, building or other objects are, as the texture of the game helped me understand that if it was a character model running or moving around it would seem boring but enhancing the product with visual approvals and allow the gamer to acknowledge the difference of a character to another.
The third and final text is:
‘How many polygons are there in a low poly model?,,, It also depends on the intended use for the model-one that will appear in numbers (such as a wall lamp) will need to be very low in polygons, while a set piece model, one intended to be the showpiece or visual highlight of a level or map, may be very high in polygons compared to the average model for a given game or game engine. ’
The final text that I have chosen is one which I feel helps unveil the method of creating the objects and characters within games and that was told to me by reading that characters are made up of polygon shapes which are moulded to form the characters. But not only of how they are created but how they are used because in the text it is told that depending on what the hardware the polygons are used upon for example if they are used for a army battle where there are multiple fights going on then the amount of polygons would need to be high in the game model.
Final analysis:
Each text has developed an understanding of the game in its production stages as each text unveils how the game model such as characters are only modelled with detail depending on what is seen, textures play a vital role in distancing certain objects from another and a poly model is what actually makes up a variety of objects within a game.
The texts are saying some similar things such as how their subject is what makes up a game but what differentiates them from each other is that 3D modelling understands what is meant to be shown, where as textures are helping to establish the detail to give it more of a realistic look and that polygons are helping the game to accomplish multiple battles or making up the 3D models and objects for the textures.
This is because with each having their own unique specialty, which helps to create a game which focuses on upgrading the detail and look of a game because of looking at ideas in a different way to create something which is unexpected.
Contextual and Theoretical Studies Week 10:Choose 4 Academic Texts
In relation to your chosen essay subject for your portfolio, and completed on your own blogs, a summary and evaluation of 4 texts that relate to your chosen subject, these must be academic texts.
First Piece of academic text supporting my essay is:
‘Game characters will become increasingly important, not just as Distant Digital Actors but as new social circles. After all, many players now spend more time with them than with their real friends or family. The best of these new companions will be more than just painted polygons: instead they will have motives, emotions, fears and desires-personalities that make you car.’
From this text I believe that this short introduction into gaming characters explains that characters within games have become or will become so advanced with tweaks or reality, that users would rather spend time with virtual characters than actual friends.
Academic Text from ‘The Art of Gaming Characters’
Second Piece of academic text:
‘...technology will contribute to the demise of hyperrealism...We will simply switch off when confronted with hyper real corpses trying to convince us they are human and all the time our unconscious and conscious will scream out, “No you are not!”’
This text describes that with so much of technology advancing the reality within gaming and how realistic is better gaming, that with the consistent sense of reality getting to gamers as it will be hard to depict what is real and what isn’t. Anger towards manufacturers would arise because having the game become so realistic that people are involving themselves with virtual life rather than reality itself.
Academic Text from ‘The Art of Gaming Characters’
The third piece of academic test is:
‘Graphics are the most elemental form of storytelling...We are taught at a very young age, through Saturday morning cartoons and programmes such as Sesame Street, to relate more to visuals in motion, because they are convenient, easy to remember-and instinctual’
This next text I have chosen describes in my view that motion graphics are vital within any form of media, as we grew up with maturing forms of entertainment, which helped us to know the differences of for example games which are different in view to reality and helping us depict real and unreal.
Academic Text from ‘Motion by Design’
My fourth and final academic text is:
‘..Unedited motion and capture techniques generally look like puppets or store mannequins that have come to life. ... Human behaviour is often lost when a computer artist tries to emulate them. ...When animators exaggerate the movements and expressions of their characters, they appear more lifelike and realistic.’
Within 3D human modelling and animation the computer artist has a goal in which he/she has to create a more human motion or more of an in depth or reality within his/her characters and that the more exaggeration gone into the movement of the models the more realistic the experience.
Academic Text from ‘3D Human Modelling and Animation-Second Edition’
First Piece of academic text supporting my essay is:
‘Game characters will become increasingly important, not just as Distant Digital Actors but as new social circles. After all, many players now spend more time with them than with their real friends or family. The best of these new companions will be more than just painted polygons: instead they will have motives, emotions, fears and desires-personalities that make you car.’
From this text I believe that this short introduction into gaming characters explains that characters within games have become or will become so advanced with tweaks or reality, that users would rather spend time with virtual characters than actual friends.
Academic Text from ‘The Art of Gaming Characters’
Second Piece of academic text:
‘...technology will contribute to the demise of hyperrealism...We will simply switch off when confronted with hyper real corpses trying to convince us they are human and all the time our unconscious and conscious will scream out, “No you are not!”’
This text describes that with so much of technology advancing the reality within gaming and how realistic is better gaming, that with the consistent sense of reality getting to gamers as it will be hard to depict what is real and what isn’t. Anger towards manufacturers would arise because having the game become so realistic that people are involving themselves with virtual life rather than reality itself.
Academic Text from ‘The Art of Gaming Characters’
The third piece of academic test is:
‘Graphics are the most elemental form of storytelling...We are taught at a very young age, through Saturday morning cartoons and programmes such as Sesame Street, to relate more to visuals in motion, because they are convenient, easy to remember-and instinctual’
This next text I have chosen describes in my view that motion graphics are vital within any form of media, as we grew up with maturing forms of entertainment, which helped us to know the differences of for example games which are different in view to reality and helping us depict real and unreal.
Academic Text from ‘Motion by Design’
My fourth and final academic text is:
‘..Unedited motion and capture techniques generally look like puppets or store mannequins that have come to life. ... Human behaviour is often lost when a computer artist tries to emulate them. ...When animators exaggerate the movements and expressions of their characters, they appear more lifelike and realistic.’
Within 3D human modelling and animation the computer artist has a goal in which he/she has to create a more human motion or more of an in depth or reality within his/her characters and that the more exaggeration gone into the movement of the models the more realistic the experience.
Academic Text from ‘3D Human Modelling and Animation-Second Edition’
Contextual and Theoretical Studies Week 9:Summary of Lectures
You all need to make sure you have lecture notes for each subject covered, if you were away for that session or for some reason you don't have notes then you will need to pursue that subject on your own and reflect your research in the portfolio. Notes from lectures should be supported by further study outside of the classroom-this could be; notes from further reading and reflection on this, a critical evaluation of an exhibition or event that relates to the lecture subject area, a critical evaluation of images, films, games etc that relate to the subject area or all of these things
4th Nov
Module briefing and introductions-task set for online blog
This session will introduce you to the themes of the module and the process and requirements for assessment. We will be doing seminar work via blog and e-learning environments so there will be an introduction to this process and a task set to be addressed before the next session.
11th Nov
Visit to animation festival –no contextual studies session
18th Nov
The Animate and the Inanimate: Part 1
Ideas of the Uncanny and the compulsion to make the still move and the silent speak
Over two sessions we will explore the concept of the uncanny as it is understood in relation to the ideas of the animated form. Stemming from psychologist Sigmund Freud’s definition of the uncanny as the familiar made strange and for him finding one of its key manifestations in the inanimate made animate, we will address both its history and evolution and its implication for reading and interpreting the animated form
Summary: The uncanny stated in this first session of teaching is that objects that have no self-motion but are moving are uncanny, in the sense that a simple object that you wouldn’t see moving but then is shown moving creates an uncomfortable feeling as we wouldn’t have expected it to be living or have human traits. An example of this is if someone picked up an orange and made it a living thing by moving it around and acting real would make it uncanny.
25th Nov
The Animate and the Inanimate: Part 2
Continuing with the Uncanny, we will apply our understanding of the uncanny to a range of outputs including the films such as those of the Quay Brothers considering how the development in genre and technique from that of stop motion to the digital disrupts the idea of the Uncanny.
Summary: In the next session of The Uncanny there are effects of The Uncanny within medias such as in film where houses come alive, robots are human like and from that I researched into this and found that in terms of film, the ‘Monster House’ animated film has the uncanny because the characters are modelled to utmost detail of a human creating an uncanny moment where reality is being played through virtual means. Going back to the ‘Monster House’ character of the film, the uncanny is that the house has been created with human characteristics such as the windows as eyes, the chandelier in the hallway as the uvula and little traits resembling humans.
2nd Dec
Radical Typography
Cut and paste, DIY and sheer necessity created the distinctive look of the punk graphics of the 1970s. This session looks at how the graphics of a period are determined by the social and political disruptions of their times and how they can provide a key route into to the understanding of period. This can be as radical as asserting ‘appearance’ over legibility in a desire to establish a ‘radical typography’.
Summary: In this session we discussed how the Punk era in the 70’s had affected many forms of media as well a society and because of the Punk era’s stand out and be heard attitude created controversy and art as the simplistic yet meaningful cover art and lyrics of the rock groups. From the punk grew a whole new genre of music, art and society as it was a outspoken, be heard time yet created a whole admired genre because of the political time.
9th Dec
Don’t Look Now! Truth, fiction and the art of story-telling
This session will explore the slippery nature of truth and fiction in contemporary visual story-telling. We frequently have to look again to understand the ‘truth’ of an image and are constantly left with images that are open ended and unresolved in terms of narrative closure. In this context how is meaning established within contemporary narrative? We will address this concern by thinking about the new position the viewer is now placed in relation to the image via ideas of theorist Roland Barthes essay Death of the Author.
Summary: This session we looked at the different ways of narrating a storyline to the audience and there were ways such as a characters point of view as it is in the comedy series ‘Scrubs’ where the main character is narrating his thoughts to the audience and thus giving more depth to a simple storyline. Another way is one which I had researched into and found the episode of ‘The Simpsons’ where each of the main characters had told their own individual part of the main storyline, giving their view and route to the conclusion.
16th Dec
Entering the Hyper-real –Planet Baudrillard
The Hyper-real places us in virtual world where ‘reality’ is out of reach.
Constantly receding from the grounded object in real space the hyper-real takes us to a world of sign and image, flatness and surface, reflection and copy. What are the rules of existence in such an environment? We will explore this universe and its rules through the ideas of sociologist Jean Baudrillard.
Summary: This session was interesting yet complicated at the same time however I was able to find out what the hyperreal is and found that Jean Baudillard had started to speculate that with virtual forms becoming realistic with each new form of technology that because of the realistic similarities that the virtual world is reality and we are the virtual population and because of that it is hard to work out which is reality to fantasy.
CHRISTMAS BREAK
13th Jan
Reading Film and Video Part 1:
Genre
This session will look at the idea of genre in film and video. How do we identify particular styles of film and how does that style work with ideas of narrative, period and social context? Increasingly in films such as Pulp Fiction there is a collaging of a range of genres into one film, this is typical of Post-Modernism and we will be looking at the way such approaches to describing the world around us provide a commentary or window on the world to contemporary life.
Summary: This session we were looking at the different types of genre that clarify and reveal what category films are stated in and from those categories films are able to be acknowledged and unveiled for what they are created for and with the range of genres that are available many films are starting to use a range of genres to expose their film.
With the range of genres being used in one film that particular film can use that specific genre to allow the audience to view the world and its history, for instance if a sci-fi film was stated as a sci-fi film which went back in time to the western era you would be able to show the audience the different contrasts of human life now compared to back n the western time.
20th Jan
Reading Film and Video Part 2:
the place of the spectator
Increasingly the viewer in film and video is subsumed within the work in some way rather that being a passive observer. This is done in a range of ways, through technical manipulation, narrative structure, interactive engagement. This session will look how the relationship of audience to film/video is the final is the final point of understanding. We will be exploring its historical development through ideas such as Laura Mulvey’s theory of the gaze.
Summary: Within this session there was a lot of uncertainty of what it was about but as I gradually started to research into it, I found that within films there is ways in which the audience is captured in the storyline such as the audience knowing part of the storyline where the main characters don’t or trying to use as stated in the theory of the gaze that women within film are objectified through means of objects as women are shown as the frail and weak due to their appearances and men are shown as the strong, heroic half through their appearance.
27th Jan
No Boundaries! The Global and the Local.
From ideas of the hyper-real to the concept of the cyborg the idea of boundary is constantly shifting within digital culture. This is most pressingly and currently felt in the shifts between the global and the local. The space of the Internet collapses notions of distance and proximity, space and place, journey and arrival. This has a huge impact on our sense of self in relation to place and regional identity. This session will consider how re-drawing the boundary has implications for the way that we structure our world.
Summary: With this session I hardly remember what it was about but what I can remember is that it may have be about the fact that within our world we have certain boundaries such as what we are limited to do but within the spaces of the internet the boundaries are put forward from ourselves on what we want to do on the internet. That locally we have boundaries set to keep order within that area and which might differ from the boundaries of a global region and if we begin to re-draft those boundaries put in front of us could cause chaos and confusion in the structure of the world.
3rd Feb
Where do I begin and end? Identity and the cyber real
This session will explore the increasing possibilities of the interface between the human and the machine. The android or robot has long had its place within science-fiction narrative and film, such as Blade Runner and The Matrix, but in reality what would such interfaces imply for ideas of embodiment, gender, identity, the very notion of the human?
Summary: Within this session the belief that robots in reality would be simply to make life easier however if life was easy it wouldn’t be exciting and worth learning from and with androids or robots in reality would cause rights and rules within the different genders of human and robots. Interfaces between the robots would seem like the humans would at first be thankful that they won’t have to lift a finger, to the point where life would become too complacent and planned and cause friction to end the robots. The very existence of robots within reality would seem like there would be no purpose for the human race and would end up having lost their identity and what shows the type of person he or she is.
10th Feb
Hacking-a new form of resistance
The role of the hacker has been a persistent image of resistance or subversion in popular culture from established TV series such as Morse or Primeval to major Hollywood films such as Wargames. As the computer has become more ubiquitous the idea of the hacker has transformed from one of geek to hero. This session will explore the phenomenon of the hacker as an act of resistence.
Summary: Hackers have been the quiet people who try to break free from the rules and regulations of the world and from their persistent rule breaks they have become somewhat of heroes due to there resistence and from the idea of the hackers being evil and trying to ruin things was gradually changed to doing what the millions of people wanted to do and that is to screw up the rules. The image of hackers were seen as a break out from the societies that kept them quiet and in place and were shown through the means of film to execute the affect of what hackers are capable of doing and can affect the world.
4th Nov
Module briefing and introductions-task set for online blog
This session will introduce you to the themes of the module and the process and requirements for assessment. We will be doing seminar work via blog and e-learning environments so there will be an introduction to this process and a task set to be addressed before the next session.
11th Nov
Visit to animation festival –no contextual studies session
18th Nov
The Animate and the Inanimate: Part 1
Ideas of the Uncanny and the compulsion to make the still move and the silent speak
Over two sessions we will explore the concept of the uncanny as it is understood in relation to the ideas of the animated form. Stemming from psychologist Sigmund Freud’s definition of the uncanny as the familiar made strange and for him finding one of its key manifestations in the inanimate made animate, we will address both its history and evolution and its implication for reading and interpreting the animated form
Summary: The uncanny stated in this first session of teaching is that objects that have no self-motion but are moving are uncanny, in the sense that a simple object that you wouldn’t see moving but then is shown moving creates an uncomfortable feeling as we wouldn’t have expected it to be living or have human traits. An example of this is if someone picked up an orange and made it a living thing by moving it around and acting real would make it uncanny.
25th Nov
The Animate and the Inanimate: Part 2
Continuing with the Uncanny, we will apply our understanding of the uncanny to a range of outputs including the films such as those of the Quay Brothers considering how the development in genre and technique from that of stop motion to the digital disrupts the idea of the Uncanny.
Summary: In the next session of The Uncanny there are effects of The Uncanny within medias such as in film where houses come alive, robots are human like and from that I researched into this and found that in terms of film, the ‘Monster House’ animated film has the uncanny because the characters are modelled to utmost detail of a human creating an uncanny moment where reality is being played through virtual means. Going back to the ‘Monster House’ character of the film, the uncanny is that the house has been created with human characteristics such as the windows as eyes, the chandelier in the hallway as the uvula and little traits resembling humans.
2nd Dec
Radical Typography
Cut and paste, DIY and sheer necessity created the distinctive look of the punk graphics of the 1970s. This session looks at how the graphics of a period are determined by the social and political disruptions of their times and how they can provide a key route into to the understanding of period. This can be as radical as asserting ‘appearance’ over legibility in a desire to establish a ‘radical typography’.
Summary: In this session we discussed how the Punk era in the 70’s had affected many forms of media as well a society and because of the Punk era’s stand out and be heard attitude created controversy and art as the simplistic yet meaningful cover art and lyrics of the rock groups. From the punk grew a whole new genre of music, art and society as it was a outspoken, be heard time yet created a whole admired genre because of the political time.
9th Dec
Don’t Look Now! Truth, fiction and the art of story-telling
This session will explore the slippery nature of truth and fiction in contemporary visual story-telling. We frequently have to look again to understand the ‘truth’ of an image and are constantly left with images that are open ended and unresolved in terms of narrative closure. In this context how is meaning established within contemporary narrative? We will address this concern by thinking about the new position the viewer is now placed in relation to the image via ideas of theorist Roland Barthes essay Death of the Author.
Summary: This session we looked at the different ways of narrating a storyline to the audience and there were ways such as a characters point of view as it is in the comedy series ‘Scrubs’ where the main character is narrating his thoughts to the audience and thus giving more depth to a simple storyline. Another way is one which I had researched into and found the episode of ‘The Simpsons’ where each of the main characters had told their own individual part of the main storyline, giving their view and route to the conclusion.
16th Dec
Entering the Hyper-real –Planet Baudrillard
The Hyper-real places us in virtual world where ‘reality’ is out of reach.
Constantly receding from the grounded object in real space the hyper-real takes us to a world of sign and image, flatness and surface, reflection and copy. What are the rules of existence in such an environment? We will explore this universe and its rules through the ideas of sociologist Jean Baudrillard.
Summary: This session was interesting yet complicated at the same time however I was able to find out what the hyperreal is and found that Jean Baudillard had started to speculate that with virtual forms becoming realistic with each new form of technology that because of the realistic similarities that the virtual world is reality and we are the virtual population and because of that it is hard to work out which is reality to fantasy.
CHRISTMAS BREAK
13th Jan
Reading Film and Video Part 1:
Genre
This session will look at the idea of genre in film and video. How do we identify particular styles of film and how does that style work with ideas of narrative, period and social context? Increasingly in films such as Pulp Fiction there is a collaging of a range of genres into one film, this is typical of Post-Modernism and we will be looking at the way such approaches to describing the world around us provide a commentary or window on the world to contemporary life.
Summary: This session we were looking at the different types of genre that clarify and reveal what category films are stated in and from those categories films are able to be acknowledged and unveiled for what they are created for and with the range of genres that are available many films are starting to use a range of genres to expose their film.
With the range of genres being used in one film that particular film can use that specific genre to allow the audience to view the world and its history, for instance if a sci-fi film was stated as a sci-fi film which went back in time to the western era you would be able to show the audience the different contrasts of human life now compared to back n the western time.
20th Jan
Reading Film and Video Part 2:
the place of the spectator
Increasingly the viewer in film and video is subsumed within the work in some way rather that being a passive observer. This is done in a range of ways, through technical manipulation, narrative structure, interactive engagement. This session will look how the relationship of audience to film/video is the final is the final point of understanding. We will be exploring its historical development through ideas such as Laura Mulvey’s theory of the gaze.
Summary: Within this session there was a lot of uncertainty of what it was about but as I gradually started to research into it, I found that within films there is ways in which the audience is captured in the storyline such as the audience knowing part of the storyline where the main characters don’t or trying to use as stated in the theory of the gaze that women within film are objectified through means of objects as women are shown as the frail and weak due to their appearances and men are shown as the strong, heroic half through their appearance.
27th Jan
No Boundaries! The Global and the Local.
From ideas of the hyper-real to the concept of the cyborg the idea of boundary is constantly shifting within digital culture. This is most pressingly and currently felt in the shifts between the global and the local. The space of the Internet collapses notions of distance and proximity, space and place, journey and arrival. This has a huge impact on our sense of self in relation to place and regional identity. This session will consider how re-drawing the boundary has implications for the way that we structure our world.
Summary: With this session I hardly remember what it was about but what I can remember is that it may have be about the fact that within our world we have certain boundaries such as what we are limited to do but within the spaces of the internet the boundaries are put forward from ourselves on what we want to do on the internet. That locally we have boundaries set to keep order within that area and which might differ from the boundaries of a global region and if we begin to re-draft those boundaries put in front of us could cause chaos and confusion in the structure of the world.
3rd Feb
Where do I begin and end? Identity and the cyber real
This session will explore the increasing possibilities of the interface between the human and the machine. The android or robot has long had its place within science-fiction narrative and film, such as Blade Runner and The Matrix, but in reality what would such interfaces imply for ideas of embodiment, gender, identity, the very notion of the human?
Summary: Within this session the belief that robots in reality would be simply to make life easier however if life was easy it wouldn’t be exciting and worth learning from and with androids or robots in reality would cause rights and rules within the different genders of human and robots. Interfaces between the robots would seem like the humans would at first be thankful that they won’t have to lift a finger, to the point where life would become too complacent and planned and cause friction to end the robots. The very existence of robots within reality would seem like there would be no purpose for the human race and would end up having lost their identity and what shows the type of person he or she is.
10th Feb
Hacking-a new form of resistance
The role of the hacker has been a persistent image of resistance or subversion in popular culture from established TV series such as Morse or Primeval to major Hollywood films such as Wargames. As the computer has become more ubiquitous the idea of the hacker has transformed from one of geek to hero. This session will explore the phenomenon of the hacker as an act of resistence.
Summary: Hackers have been the quiet people who try to break free from the rules and regulations of the world and from their persistent rule breaks they have become somewhat of heroes due to there resistence and from the idea of the hackers being evil and trying to ruin things was gradually changed to doing what the millions of people wanted to do and that is to screw up the rules. The image of hackers were seen as a break out from the societies that kept them quiet and in place and were shown through the means of film to execute the affect of what hackers are capable of doing and can affect the world.
Wednesday 21 April 2010
Digital Films Week4:Tape Sheet from filming
As we had finised filming i wanted to post the image of the tape sheet we used and found it intereting that we had to log our shots and scenes that were filmed, as this would help to look for the shots we have taken.
Tuesday 20 April 2010
Digital Films Week4:Hazards and Risk Asessments
The image on the left is of the Hazard cheklist sheet in which we had to fill out or tick which could be a hazard during our filming. Fortunatley for our sake there were no big hazard to be careful of and insteazd were able film with no caution.
The next image on the left is the Risk Asessment sheet which had to be filled out to begin our filming and so we filled it out showing some risks that we could see and how to handle the situation if it arose.
Digital Films Week3:Film Sequences
After Mark had shown us what he had as the idea for the storyline for the Fly Chase Scene, we went into a group as to plan the shots and sequences.On the left is the sketche and detailed shot by shot of our film and although the ending wasn't decided we will be able to think on our feet as to what we want to finish the film off with.
Digital Films Week3:Fly Chase Planned
This image on the left is of the storyboard that Mark had drawn up which seemed like the best story line. With that chosen we have simplified the 2 minute chase film and found that this was the best way to tackle the first task.The chase film is about a not so bright student who is hungry and will go to the limits to obtain food and all thats in his way is a fly, what's the worst that can happen?
Monday 19 April 2010
Digital Films Week2:King of Queens-Microwave Scene
I found this scene from the tv-show King of Queens which shows an inside microwave scene and just the whole scene which is entertaining from an inside point of view:
around about 5:50m:
http://www.youtube.com/watch?v=KX7S-zpgYiA&feature=PlayList&p=33F5B80E15D90E28&playnext_from=PL&playnext=1&index=41
Sunday 18 April 2010
Prince of Persia: The Forgotten Sands
The game is an interquel, taking place in the seven year gap between The Sands of Time and Warrior Within.The Prince character is supposed to be a cross between the character models in these two games. Similar to the Prince of Persia Sands of Time Movie(May 21st)the forgotten sands game will be realeased 18th of May.
'Visiting his brother’s kingdom following his adventure in Azad, the Prince finds the royal palace under siege from a mighty army bent on its destruction. When the decision is made to use the ancient power of the Sand in a desperate gamble to save the kingdom from total annihilation, the Prince will embark on an epic adventure in which he will learn to bear the mantle of true leadership, and discover that great power often comes with great responsibility.' 
Trailer
Prince of Persia Gameplay Trailer
Prince of Persia: The Forgotten Sands Developer Diary
Prince of Persia: The Forgotten Sands Video Preview
Monday 12 April 2010
Digital Films Week2:Found Article
I had recently tried to look for methods of getting rid of flies and found thi article on the BBC website:
10 ways to swat a fly
By Tom Geoghegan
BBC News Magazine
They buzz irritably and contaminate food. So when Barack Obama slapped dead a fly during a news interview, some people would have been looking for tips. What's the most effective method?
Obama swats fly mid-interview
Attempts to swat flies usually end in fluster, breathlessness and frustration.
But for the man described as the most powerful in the world - yes, he can kill a fly with a single blow.
Halting his television interview momentarily as a fly landed on his left hand, President Obama hit it with his right. "I got the sucker," he declared, as the corpse fell to the White House carpet.
So what is the best way to swat a fly? Here are 10 suggestions.
1. Do it early in the day, says Max Barclay, an insect expert at the Natural History Museum. "Because they are cold-blooded, the reactions of insects depend on the temperature of the air. Early in the morning or in the evening they will be a bit dopey, but in the heat of the day they will be very quick." But expect failure. Barack Obama was probably quite lucky, unless he's been practising. "Nine times out of 10, a human will come off second best. Flies have a phenomenal barrage of senses, half of which we don't have."
2. Approach from behind, goes one theory, because flies take off backwards. Anecdotal evidence suggests some people find this a successful method. But the fact that flies have 360-degree vision and can jump in any direction makes it improbable.
Flies usually outwit humans
3. Aim ahead, rather than at, the fly say researchers in the US, who found that within milliseconds of sensing a threat, flies get their body ready to take off forward, backwards or sideways. "Given that they are going to be jumping away from the swat, it's best to aim slightly ahead of it," says Michael Dickinson, of the California Institute of Technology. Although how far ahead depends on the speed of the fly. He's been studying take-offs for five years, using video that provides 5,400 frames a second of a fly's precise motion when threatened with a swatting.
4. The old-fashioned slap, now known as The Barack. Stay still, keep focused, take aim and attack. Ideal for a fast hand and if the fly is stationary. And if the world's media is in attendance, YouTube fame beckons.
5. Implements with holes are more effective, says Dr Peter Barnard, director of science at the Royal Entomological Society. "It's the air pressure they detect and fly away from. It's not so much that they see something coming, but they feel the pressure wave in front of the object." This is due to their coating of microscopic hairs, highly sensitive to air movement. Practising what he preaches, Dr Barnard uses a plastic pistol that fires a holed circular device. A fly swat gun, if you will.
6. Use chopsticks, like the Karate Kid. Under guidance from his instructor Mr Miyagi, teenager Daniel LaRusso demonstrates his speed and hand-eye coordination, and learns an important life lesson at the same time. Mr Miyagi's advice - "Man who catch fly with chopstick accomplish anything" - features on T-shirts in homage to the 1984 film.
7. Put hands either side of the fly, facing each other, so it doesn't know where the threat comes from, then clap the air a few inches above it. Wash hands immediately to remove the contents of the fly's stomach (don't ask).
8. Get a gadget. At the hi-tech end of the market there's an electric-powered mesh, a dome complete with pheromone and an insecticide aerosol. For those on a budget, there are decorative window stickers or pens to coat windows with transparent insecticide, and fly-swats cost as little as £2. Animal rights organisation PETA, which advocates compassion for flies, says there are humane bug-catching devices available too.
9. Improvise with a rolled-up newspaper (bear in mind point five, above), or a spray window-cleaner.
10. The humane approach - to capture but not kill. "I like to grab them in my hands," says Mr Barclay, who's had plenty of practice. "When you want them for a collection you don't want them damaged. Hit them with the palm of your hand and close your fingers over it." And if you're not an entomologist, release the fly outside. It will make you feel better.
http://news.bbc.co.uk/1/hi/8105232.stm
10 ways to swat a fly
By Tom Geoghegan
BBC News Magazine
They buzz irritably and contaminate food. So when Barack Obama slapped dead a fly during a news interview, some people would have been looking for tips. What's the most effective method?
Obama swats fly mid-interview
Attempts to swat flies usually end in fluster, breathlessness and frustration.
But for the man described as the most powerful in the world - yes, he can kill a fly with a single blow.
Halting his television interview momentarily as a fly landed on his left hand, President Obama hit it with his right. "I got the sucker," he declared, as the corpse fell to the White House carpet.
So what is the best way to swat a fly? Here are 10 suggestions.
1. Do it early in the day, says Max Barclay, an insect expert at the Natural History Museum. "Because they are cold-blooded, the reactions of insects depend on the temperature of the air. Early in the morning or in the evening they will be a bit dopey, but in the heat of the day they will be very quick." But expect failure. Barack Obama was probably quite lucky, unless he's been practising. "Nine times out of 10, a human will come off second best. Flies have a phenomenal barrage of senses, half of which we don't have."
2. Approach from behind, goes one theory, because flies take off backwards. Anecdotal evidence suggests some people find this a successful method. But the fact that flies have 360-degree vision and can jump in any direction makes it improbable.
Flies usually outwit humans
3. Aim ahead, rather than at, the fly say researchers in the US, who found that within milliseconds of sensing a threat, flies get their body ready to take off forward, backwards or sideways. "Given that they are going to be jumping away from the swat, it's best to aim slightly ahead of it," says Michael Dickinson, of the California Institute of Technology. Although how far ahead depends on the speed of the fly. He's been studying take-offs for five years, using video that provides 5,400 frames a second of a fly's precise motion when threatened with a swatting.
4. The old-fashioned slap, now known as The Barack. Stay still, keep focused, take aim and attack. Ideal for a fast hand and if the fly is stationary. And if the world's media is in attendance, YouTube fame beckons.
5. Implements with holes are more effective, says Dr Peter Barnard, director of science at the Royal Entomological Society. "It's the air pressure they detect and fly away from. It's not so much that they see something coming, but they feel the pressure wave in front of the object." This is due to their coating of microscopic hairs, highly sensitive to air movement. Practising what he preaches, Dr Barnard uses a plastic pistol that fires a holed circular device. A fly swat gun, if you will.
6. Use chopsticks, like the Karate Kid. Under guidance from his instructor Mr Miyagi, teenager Daniel LaRusso demonstrates his speed and hand-eye coordination, and learns an important life lesson at the same time. Mr Miyagi's advice - "Man who catch fly with chopstick accomplish anything" - features on T-shirts in homage to the 1984 film.
7. Put hands either side of the fly, facing each other, so it doesn't know where the threat comes from, then clap the air a few inches above it. Wash hands immediately to remove the contents of the fly's stomach (don't ask).
8. Get a gadget. At the hi-tech end of the market there's an electric-powered mesh, a dome complete with pheromone and an insecticide aerosol. For those on a budget, there are decorative window stickers or pens to coat windows with transparent insecticide, and fly-swats cost as little as £2. Animal rights organisation PETA, which advocates compassion for flies, says there are humane bug-catching devices available too.
9. Improvise with a rolled-up newspaper (bear in mind point five, above), or a spray window-cleaner.
10. The humane approach - to capture but not kill. "I like to grab them in my hands," says Mr Barclay, who's had plenty of practice. "When you want them for a collection you don't want them damaged. Hit them with the palm of your hand and close your fingers over it." And if you're not an entomologist, release the fly outside. It will make you feel better.
http://news.bbc.co.uk/1/hi/8105232.stm
Sunday 4 April 2010
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