Saturday, 31 October 2009

Weird....Gomenghast....Excerpt 1 Notes

Hahah, so I did a little research....turns out Titus Groan is part of a Trilogy under I did a lilttle more rooting round, read up on basic plotline...and some of it started sounding fammilar, then I found some images from a t.v series...

...turns out I used to watch it when I was younger haha....crazy...

Anywho...I've started to decode elements from each of the Ecerpts we've been's just some notes from them...

The Hall Of Bright Carvings:

Background Info:
Hammock errected at the far end
Feather Duster
Long boarded floor, white with dust, silent hall
Emerald Horse, Black and Olive head, Piebald Shark especially taken care of (less dust then others...stand out more?)
Winter/Summer(Time period?)
Nature of a Loft, Illuminated by 7 great candlavra suspended at intervals of night feet
Only one window opposing the entrance, giving little light
Stock of candles in small dark ante-room, robe, and huge, dusty vistors book and step-ladder
Ash-like dust  accumilating in four corners
Phalanx of colour
Brightness surging over dust like a highway for an emperor

Scene Info
Humid, sweltering after-noon, knocking at the door unsettles dust, thin bands of sunlight squeezing through thin cracks of window blind (which are down) candllight filling the wroom with inconcongrous radiance...Key in lock

I'm a bit confused as to how many scenes we do from each excerpt, for instance, my 1st one has 2 chapters, with 2 settings? Do I choose one from each? Help would be very...helpful lol

Thursday, 29 October 2009

Detective Desk

So here's the belated Detective Desk Render, here's the original layers:

Beauty Pass

Ambient Occlusion


And the final Overlay including a Lens Blur for realisim:

Fifth Element/Metropolis Inspiration?!?! jus seems to go on, but there was aparticular scene metroplois that just remind me so much of the film 'Fifth Element', released at a pivitol point, along with Final Fantasy VII, it was one of my childhood favourites, and inspirational to me at fact, to me it's the stuff of legend...and if you havent seen it, do it!

In comparison to the transformation scene of the Robot Maria

Salvador Dali/Spellbound

Now, im a huge fan of surrealism, im not to sure what it is that draws me to it, perhaps it's the disconnection form reality, or the portrayl of a alter one, but eitherway, when i saw this image in the lecture, I instantly thought wow...

Taken from the film 'Spellbound', Alfed Hitchcock wanted Dali to work on the surreal scen is his movie, so it made sense with this unit to have a little peak at what he did...

As you can see, carries all the traits from his work, but used in the concept of a film, which is really interesting to see a different spin on his work..

I noticed after the lecture whilst watching 'Metropolis' that there was an image there beared an extreame likness in 'Spellbound', which just goes to show how inspirational Fritz Lang's peice really was...

Metropolis 'Danicing Maria Scene'


Metropolis 'Fritz Lang'

So...a great classic in my view, studied it in film a few years back, well sections of it, but nevertheless still a fantastic film, the daddy of all Sci-Fi, and where most notions of the genre derive from..

Although again this is a silent piece, it makes good use of background noises, as well as highly dramatic music, that comes across as quite theatrical....which helps keep consistency, as well as expressing how characters feel across their actions.

The beginning sequence carries a surreal element, with the high use of montages of machinery, reflecting the social economics of how the workers are similar to the monotonous machine repeating day to day tasks, the embodiment of the workers conveyed as a living machine, with working, living parts, as well as the exit and entrance reflecting the non stop working that a machine consists comparison to the biological utopia above, with Athenian like males...with the eternal gardens for example, which seems heavenly in comparisons to the underworld of the workers.

Fritz lang's backdrops uses very angular as well as rectangular architectural structures, perhaps influenced by art noveau, which over tower the human race, conveying the sense of a metropolis if you the same time, he portrays the sense of a futuristic landscape in a harmonizes realistically in a sense, for example, the video call to Grot, which in that day would have seemed absurd, to the time era the film was created in, in another instance it has a lack of imagination in comparison to today’s society, where we would in vision a future that far surpasses that of Fritz Lang's....

Along with this Fritz land uses similar concepts to Robert Wiene, such as the main focal circular point on the characters, but perhaps this was a common notion used within German expression at the time. Fritz lang uses an incredible amount of cg, which for it's time was spectacular, and even from my point of view, incredible believable and contemporary, for instance he's angular still shots, when the workers are moving in a body of mass up and down the angular road, the lack of panning in his work, which could have been due to technology issues, but still comes across as quite stylistic. as the use of overlaying, blending of two forms, for instance the transformation of the Evil Maria, or even the when Freder tries it has at 'working', and the dial blends to a clock. Along with this, Fritz uses consistent montages, as well as a vivid use of lighting, even creating suspense such as the classic chase scene between Rotwang and Maria in the catacombs...

As well as using definitive technological advances in his work, Fritz also makes use a outstanding metaphors in his work through this use of these, for example when the heart machine goes out of control, and Freder see's this, and in visions a sacrificial mechanical monster consuming the lives of the workers, as well as the tower of Babel scene (bearing a strong connection to Joh Fredersen's Metropolis) where there is a blurred light around the edge of the film, conveying a dream-like sequence, which allows us to disconnect away from the main storyline, but along with this, to portray themes and notions within his work, he created to what seems like now very generic, conventional characters, such as Maria, who comes across as a very strong individual, which at the time of production, seems quite hypocritical since they were repressed by men, as seen more as objects...but still she is represented to us as a very symbolic, holy figure, for instance at the alter in the catacombs, where she seems similar to the divine Virgin Mary, (and the noted bible references, such as Babylon, the mother of all abomination) especially with the backlight and crosses...which is completely opposite when Robot Maira arrives on the scene, perhaps idolising how woman should be perceived in society, as very sexual, provocative obedient objects at the will of men, although this is contradicted when men start to fight over her, which could lead to the notion that woman are the sinful, and to be kept in line...

Along with the filmic character notions portrayed in this film, it's funny to a sort of role-reversal in this film, as Freder seems very feminine, emotional character, in conjunction the Maria, who seems to be the strong willed one, though both are disconnected from most of the characters by there clothing, to stand out perhaps, thought their clothing seems lighter then rest of the cast, suggesting that they are both the hero's of the comparison to this are both Joh Fredersen, and Rowang, who are the antagonists of the story, Joh conveying the whole, monopolising, totalitarianism regime, perhaps reflecting the views of the social context in the time period, in contrast to the crazy scientist, who possible became the original filmic notion that has been using a thousand times older..

The ending however, seemed to be very reminiscent, but to me unsatisfying, although it carries all the traits seen in todays modern films, such as the classic fight scene, to which the hero gets the girl, the semi-bad character comes to realize he's mad a huge mistake, and everyone makes up at the end, to me it seemed to end very abruptly on the handshake between 'Head and Hands, although there was complete closure, leaving
the audience with the metaphorical message 'Head and Hands Join Together Through Heart'

All in all, this film is an excellent view of how cinema today has progressed and develop through narrative, conventions, and special effects, and is a must see to anyone who wants to re-align there skills as an the beginning...

Wednesday, 28 October 2009

Dylan Cole

Ahhhh gotta love this artist, Dylan Cole uses alot of photshop to interpret landscapes into real world scenario's making them seem beleivable, however conveying a beautiful environment, which also carry futuristic aesthetics, believable to modern society...

Anyway, enough with the chat, take a look for youself on his site...

Here are some images incase your lazy lol:

Tuesday, 27 October 2009

The Cabinet Of Dr. Caligari 'Robert Wiene'

When I first heard this was a silent film...I must admit, I was quite taken a back, and prepared to be completly bored....thought I do like to keep an open mind...

To my surprise, it was actually ok lol, althought I did feel the film drew slightly tedious towards the end, but the musci in the background help to move some of the more tedious are'as along faster, but nevertheless there are some great notions in there that was obviously quite definative in the film industry, with thanks to the director Robert Wiene, developing tradional aesthics used in modern day styles.

For example, the begining sequence was a very dark, almost sinister opening, using elements such as a circular crop to a character to suggest a focus, which was possible to help the transition of the story, due to the lack of the words, then moving on to the townscape where the film is set, where the backdrop was clearly contructed from a sort of caardboard, or perhaps painted, but the sizes of the house and landscapes beyond where very dissproportionate, and quirky, which you could sense a very early 'Tim Burton' feel about it, also an element I noticed within the film, was that there was a high use of black and white decor, for example in the Director's Room, where there was a strong focus on the center desk, as there was a swirl pattern marked all around the room, focusing the central theme, which again, felt very 'Burton' like, simmilar to 'Beetlejuice'...

Other elements within the film I took note of where the very high contrast use of shadows, which create a great sense of depth, as well as suspense,  as well as the set within made use of very a angular design, either a choice of style, or perhaps even to convey a sense of confusion, disorientation toward to viewer, as this challanges our daily conceptions of buildings being very rectangular, and for want of a  better phrase, 'Making Sense'.

The text usage to convey the characters thought or speech was very perculiar, as it was quite stylised, and dramatic, and this struck me as perhaps a means to interpret tones of the way in which a character would say certain lines, words, suggestive to the emotion carried behind it, for example, the font, as well as the backdrop behind it had a tendancy to use sharp imaging...In a simmilar concept, Rober Wiene had a tendancy in this film to portray different time periods with the use of tones, for example, to portray night, he would use a light blue lens, possible due to technology restrictions, but nevertheless still effective and obvious to us as an audience, at the same time, to represent past, he woul duse the trademark convention of using a sepia tone, which to this day is still a widely used effect.

Perhaps even as far as art is conerned, I when I was watching this film, I felt alot of reminecsence within it, especially with the scenerary, for example the work of Will Barras's , in particual he's piece 'The Third Man' which reminded me of some of the quirky, surreal backdrops within the scenary...

Some of the main storyline on a simmilar wave-length can be seen in more recent productions, such as the character Cesare, who to me, felt extreamly reminsicent to Tim Burton's 'Edward Scissorhands', but at that time period, it was an already distinctive convention, especially within german expressionist films, to portray male lead characters with a sense of feminimity, such as the use of eyeliner and make-up, for instance Fritz Lang's 'Metropolis', he uses simmilar conventions..

Elephant Man! bit belated as it may, nevertheless have got a review of how I perceieved this peice....

This maybe one of David Lynch's more toned down productions, but he still carries his own stylistic tendencies into his work, for example, the begining sequence which portrays a very dreamlike sequence, simmilar to a surrelistic approach, it creates a weird sense of suspense and confusion at first, but as the film moves on, the same series of images occur throughout, making more sense as there is a backstory to the montage...

Along with this, Lynch uses a very dark, greyscale film tone, to re-inact the old-styled way of producing a film, typical of the 1920-1950's 'Golden Age' period, although it seems very strange, and obvious that it was produced ina more developed era of film, due to the crisp quality of the detail of the film. He uses very creative (short) cuts, to help create a clear, and definative outline of the new sequence, and/or new layout of a scene, which I found quite effective, and reminscent of that time period, comparable to Albert Lewin's 'The Picture Of Dorain Gray' for example, when he used very dark, over casting shadows, and stills to represent environments, such as the pub in the fields.
So basically, in a nutshell, the film tells us a a true story about a man, born with severe deformaties, that have never been seen by man before, as a result, he has a sheltered, but abusive life as a freak-show exhibit, unitl he he's rescued by a doctor who takes him in, and brings him out of his shell, and presents him to society, to which they refer to him as a monster of sorts, and shun him....then later accept him. It's a compelling story portray social acceptance, and how we, as a society alone accept people on the way they look, and find it hard to look past that outer layers of a person's identity, to their inner self.

David Lynch executes a fine peice of work with this peice, along with a great cast, such as Anthony Hopkin's, who admirably plays the Physician who helps the Elecphant Man 'John Meric', and through his  humane kindness alone, we are able to understand John Meric and grow to love his character,(which i must admit, was hard at first) and this pretty much becomes an emotional journey of acceptance, as we can all relate to being singled out at some point of our lives.

I won't speak much of the ending, but the definetly has a sense of completion, the 'Alpha/Omega if you will, especialy with the final ending sequence reminiscent of the begining, dream-like sequence, along with the subtle, but powerful orchestrated version of, 'Adagio For Strings' this peice has made it's mark on me as a classic...

Monday, 26 October 2009

Titus Groan?!?!? a nutshell, I literaly have just opened my folder...and instantaniously is this? begins the grueling research of a new subject....lets just hope it's all good lol, before i read the excerpts im jus gunna research the whole subject and it's background etc..

Friday, 23 October 2009

Rocket Render

Glass Bottle/Alcohol Render

So here's the render of my bottle with drink in it

Thursday, 22 October 2009

Robot Common Texturing

Here's the different common textures from maya!

Stylistic Lighting

Here's the lighting I learned how to do....had a little trouble with the Night one for some strange reason....lower shadow wudn't quite work...

P.S....I hate arranging images in


Just some develomental work following some tutorials....

I quite like the lighting, thought the peice itself seems very disconnected....

Also, here's jus a few sketches I made whilst plannin the order of the transition of the pictures:

Wednesday, 21 October 2009

Lucus Samara

Again coming back to the begining so close to the end (ironic to my blog)...

I was reminded o Lucus's work when through some images on the internet, and found them quite intresting, as well as atmospheric

Using different mediums and techniques to create his work, as o late he has been known to use photo-manipulation to create images, mostly of himself, that aren possible in reality:

In other area's he has also manipulated the developing techniques of photo's, for example using different chemicals, different timings etc...and made some wonderful images from this technique:

16 Snapshots....(Metaportait)'s the selected pictures I took from the photoshoot, the others I may use as source imaging, but these will be the main bases for the Metaportrait: