Final Post

As a final post in your design blog, reflect upon the course and its outcomes for you as a designer.

What have you learned and how do you think it relates your design eduction? Are there things you learned that were useful? Is there anything you wished you learned about that wasn’t covered?

What is your concept of the role that time-based communication as it plays  within the design field? How is it different/same from other design specialties?

Post a response to any/all of the above or anything else that you think captures your current ideas on time-based design.

Filed under: Assignments

P3: DVD Package (20%)

As a final project for the term, each student will plan and develop a DVD package that captures selected work from the term.

This assignment consists of a packaged submission of class work from P1, P2 or personal work accessed through a DVD menu

Objectives

• To use design knowledge and techniques for presentation of time-based projects
• To structure and assemble media for effective user experiences
• To produce a creative portfolio package for promotional purposes
• To learn the basics of DVD authoring using DVD Studio Pro

Specifications

DVD with a menu for selection of video work, DVD label and jewel box to include:

1. A 10-second opening title sequence with the basic information of the course:
   • YSDN 3009 Time-based Communication, Winter 2007, Title (eg. Counting Leader)
2. After the 10-second opening, followed by a DVD menu with links to the work from assignment #1 or #2 plus the credit link. The menu will contain sub-menus to link all work in an effective interactive structure
3. Credit link should contains following information:
   • Creator’s name
   • Course/section
   • Project title
   • Instructor’s name
   • York/Sheridan Joint Program in Design
   • Acknowledgments
   • Yourname©2008

Final Deliverable

DVD disc for NTSC video output in a designed package

Due Date

Monday April 7 by 12noon

Filed under: Assignments

Twisted Films by PES

The Home of the Twisted Films by PES is a delightful showcase of low-fi films and photography with a hand-made quality. These films (not video) hearken to a pre-digital era but make clever reference to lots of contemporary issues like politics, culture and technology. Much of the hardware seems to be household objects that are superbly transformed into trains, buildings, planes and brains.

Lots of the best work seems to be expressive and not client driven but recently shot commercials for Diesel, Bacardi and Coinstar.

PES is based in Harlem, New York.

Filed under: Inspiration

VFS Bridesmaid Guide

These students from a Motion Design class the Vancouver Film School have nicely blogged about the creative process in making their short video Bridesmaid Guide . Stills, animatics (we called them audio storyboards) and lots of production process work is presented and annotated to create a story. The team has been using the blog to post and remind themselves of work completed and needing completion…sort of a workspace similar to our projects.

Here is the A Brief Guide About Bridesmaids final

Filed under: Inspiration

Depth Cues

1. space/position:the frame in which an image is located on the x-y axis
2. size:is closely relatd to our ability to determine an object’s distance. Distance is related to space and helpsin our perception of depth. Sixze also is related to scale and mental attention.
3. color:closer–> warm, high contrast color; far–> cool and neutral tone colors
4. lighting:The light’s brightness and position create shadows that the viewer notices, indicating an object’s volume and gives another depth cue.
5. textural gradients: The ridges appear closer together as the viewer moves away
6. interposition/layering:the placement of on object in front of another to give the illusion of depth. foreground vs background
7. time: refers to the first element a viewer sees in a frame; establishes an initial picture in the viewer’s mind
8. perspective:
   • illusionary perspective is achieved through size, color, lighting, interposition, and linear perspective
   • geometrical perspective occurs when near figures in the lower portion of the picture and objects farther away higher in the frame on a vertical line above the near object
   • conceptual perspective: a compositional trait that relies on a more symbolic definition of depth perception than the other types of perspective
     multiview–> transparent, x-ray; and social–> stereotype for important people larger in size…
   • speed perspective: near objects move fast, objects move slow seem further away
   • atmospheric perspective: near objects seem clearer, blurred object and images seem futher away

Filed under: Technical