University of East London: BA Hons Graphic Design

Monday 25 March 2013

Project Four - Year 3 Graphics - Final Major

“Major Project” Short Film

Major Project Treatment for BA Hons Graphic Design

By Lauren Richards-Evans

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Premise

A young woman wakes up upon a presumed abandoned rail line, in the middle of nowhere – where she meets a man who refers to himself as the “Guardian”. Having discovered she had perished, it’s through him that she learns about the true afterlife and how she got there in the first place; having no recollection to the events before finding herself dead.

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I have always been drawn to the incomplete stages of a film, or music video – specifically the talents put into motion graphics, motion capture, animatronics and even special/after effect.

I feel the means of dissecting a music video into parts; capturing the sketches; storyboard, character development, photographic pieces, and the concluded finalization as multiple contributions to the production of this major project, would like a genuine behind the scenes footage of a music video, or even film allow the different, individual elements to one story; become stand-alone pieces of their own. Not only showing the process, but the great detail and time placed upon even the smallest feature.

However in placement for a behind of the scenes video, I feel a structured companion book that contains all the effort I placed into this potentially unsuccessful outcome will be a better and far more professional demonstration rather than loose imagery scattered across a wall.
Companions books are noted as publicized documentation which in the television and film industry the likes of David Cameron (Avatar, Titanic, Terminator), Tim Burton (Dark Shadows, Alice in Wonderland), Ridley Scott (Prometheus, Alien), and Gene Roddenberry (Star Trek) have released to show those of interest a detailed “journey” on the process of the film/television series, notably a film/television project that has a historically and culturally inspiring event.

With this in mind, the purpose of this Final Major will be my attempts to construct a five minute short film; inclusive of the details stated above to help the viewers of my completed outcome understand the process taken. I will be delving deeply into researching and deciphering the progression of screenwriting, and technical advancements towards filmmaking; using books about various genres, such as Teach Yourself: Screenwriting by Ray Frensham, Subversion: The Definitive History of Underground Film by Duncan Reekie, and Underground Film: A Critical History by Parker Tyler, all of whom are known screenwriters, film makers and film critics within the industry, as well as inquiring to the opportunity to view professionals behind the scenes of a short or feature length film, to physically and visually captivate the techniques used when dealing with appropriate equipment; enhancing previous knowledge from behind the scenes documentaries.

Background & Inspiration

The plot is a recaptured approach to an old first year project “UEL Feature Shop”, where the outline was to write an original script/story, with the final being a visual presentation of a trailer or a scene. Accompanying the story, and script alone there had to be references to the ideal locations, characters, actors. I never managed to complete the film, and after three years – the concepts I created have been instilled in my memory, making me decide to salvage an incomplete idea.

Prior to landing upon the draft of “Wreckage”, I previously wished to make an adaption of a favored book; The Harrowing by Alexandra Sokoloff, and before that began writing an elaborate introduction to an original piece; the later struck off from its extremely complexity.

Despite disagreements with tutors upon my approach with the project – going forth with the former – they demonstrating my conceived script a misconception, I temporarily went ahead with what could’ve been a “film adaption”; approaching friends, and acquaintances for potential roles, both the acting and technical sides…then realized I should’ve simply gone ahead with an original concept, concluding the late progress as the result for no final outcome becoming made.

In the speeded attempt to get the written work out the way, to come up with visual references; I searched websites; DeviantArt mainly for images to co-inside with the character design, something I sadly found no time for, and District London to assist with locations. Wanting the locations to be local to myself, living in East London – I ventured into abandoned train lines, tunnels, stations and towns i.e. Uxbridge Road, Silvertown Station, and Connaught Tunnel.

The ideas of wishing for areas that represented “nowhere” I feel were subconsciously inspired by music videos such as ‘Weight of the World’ by Young Guns (http://www.youtube.com/watch?v=oVg5GFINVpk); whenever I think of the opening scene of the short film “Wreckage” I always look back to how this video was developed, the train leaving an unused station. Because I had watched said music video very near the time I was writing out the original layouts of “UEL Feature Shop”, the imagery may have been playing on my mind.

Recent research had led me to an artist named Zeiva who owns her own company Zeiva Inc; whom I follow through DeviantArt and Facebook; she collaborates with other artists under the franchise, creating Abode Flash run “choice” games, where the player has multiple endings to unlock by deciding upon one particular answer. There was one game they worked on last year – “Train to Afterlife”, a theme that shared many qualities to the original outline of Wreckage, and by then I had no knowledge of the game in progress. Themes such as the idea of losing knowledge of who the decease once was, and in this case, how they died, having to rely on a guide (or more) to discover an element of that memory. What differs is that her plot uses tarot cards, each card representing a particular memory. https://www.facebook.com/#!/zeivainc?fref=ts

Characters

Mercy (formerly “Marie”) – the main protagonist - born and raised in Northwest London, in a four year relationship, engaged and due to marry the following month prior to perishing in a train collision after drunkenly walking along an abandoned train track; waking up not remembering anything from the night before.

Dionysus i.e. The Guardian – the main dueteragonist – a mysterious man who appears upon the train track where Mercy finds herself, who only describes himself as someone who helps “the lost”, unveiling later his true purpose, the guardian of the afterlife. He is the one that assists Mercy into remembering the events before she dies.

Cedrick (formerly Tom) – the main tritagonist – fiancé and future husband of Mercy, he was the last person to see her alive, losing sight of her the night she died. Remorseful, he is unaware of his fiancé’s presence in the nether world, they co-existing in two separate plains. He finds out the truth when Dionysus enlightens his fiancé from her amnesia

Phantoms – extras – these are the souls of those who have died, or supernatural creatures protected by the Guardian.

©
Lauren Richards-Evans
University of East London
BA Hons Graphic Design and Illustration

thechocolatier@hotmail.co.uk

Wreckage Screenplay (First Draft, preview)
Wreckage Screenplay (Second Draft)
Wreckage Screenplay (Third Draft)

Opening credits, theme: Lunatic Soul V- Impressions V
https://www.youtube.com/watch?v=HY9i5cdcTbM
Ending credits: Riverside - Living In The Past
https://www.youtube.com/watch?v=jlbLusaf304

Project Three - Year 3 Graphic Design - Audience

Tuesday 6 November 2012

Project Two - Year 3 Graphics - Random Acts (LP)

“The Madness of Television Circuits”

Random Acts Treatment for Channel 4 by Lauren Richards-Evans

An eerily, atmospheric setting with an air of Brothers Quay, the purpose of this animated short is to influence the viewer’s imagination to ask “Just how alive is my television?” – basing it on the myth that today’s technology can lead what we have created to have a life of its own, to the point where IT even begins to experience its own nightmares and “demons”.

Plot

Within a darkened living room, the “camera” will move into what appears to be a dormant television; the innards designed to replicate a box – or a simple stage.

There’s nothing until a thick black liquid materializes in the middle of the floor, not moving as if it’s surprised it’s even there. After a while, it will become confident, starting to morph into its designated shape: a humanoid upper torso with black eyes, and no real hands, the rest the liquid it manifested from.

Upon realizing its ability to create life, it will smile. It begins to experiment further, creating what looks like a weapon out of its left arm. In front of it, the “wall” of the television dissolves into numerous electrodes; the creature’s large, black eyes capable of visualizing the transformation.

The creature’s true purpose becomes clear.

As it will greedily plunge its arms into the wall, into the warmth of the circuits within, the “camera” will pan out to the television, to show the consequence of its actions…a fuse, resulting in the creature’s form retreating into its natural state.

It recovers grudgingly, relieving itself from the aftershock just to come to stare at the other wall, admiring the circuits within.

The same happens again, ruining the opposite side, steam escaping, turning the exceptional mass in a state of euphoria. Now, when it reinstates a manageable form its attention will be brought onto the back of the “stage”, black masses for eyes greedy. What beholds behind the shield is the mainframe of the television, the source of the power.

The mass smiles, before the screen goes black.

What is heard is an overload of electricity, accompanied by a loud “pop”, emphasizing something has given way. When imagery comes back to the viewer, what is seen is the inside of the television – the stage – it was like nothing happened, and as camera retreats to see the outside view…it’s a wreck, with each side of the exaggerate with a jagged punch hole, blackened by smoke as sparks fly out.

The film cuts.

Approach

Expressing deep interest in the mechanics of Stop-motion, and animation – the goal with this 3 minute short film is to reproduce the skills and techniques observed in original Victorian era films. With the tattered appearance of the characters, and the grainy supplements found traditionally in Super 8 film. This is a method currently used in modern day experimental cinema.

To maintain the fluidity of the scenery and to contrast with the complex detail of the “actor”, the lining of the television and stage within will be kept simple – giving the gesture of a dream in comparison to reality.

Lauren Richards-Evans

University of East London

BA Hons Graphic Design and Illustration

thechocolatier@hotmail.co.uk

Wednesday 24 October 2012

Mid-Year Exhibitions - Year 3 Graphics - Proposals

VERSION 1

“Morphine” Music Video

Mini Exhibition Treatment by Lauren Richards-Evans

Experimenting with the practice of showing the visual development behind a music video/short film, expanding into all the details acquired without seeing the finished product; – the premise, placing oneself into the mind set of Tim Burton, if he ever had the chance to collaborate with Michael Jackson, as this was an accomplishment neither party had a chance to experience.

The song of which will be illustratively shown upon this exhibition will be Morphine, found on Jackson’s 1997 album Blood on the Dancefloor: HIStory in the Mix known for hits Blood on the Dancefloor, Ghosts and Is It Scary. For this purpose of representing the depth of the song, the storyboards, moodboard, character, costume designs, and the scenery will be treated as if the director, Tim Burton is going through the scenario himself, as he would treat every project – using Jackson as a real life manifestation of his sorrow, in addition to letting the singer express his own anger.

Premise

Morphine tells the story of the protagonist struggling with drug addiction with Michael narrating the story, allowing the listener to experience the inner turmoils, and disastrous outcomes.

http://www.youtube.com/watch?v=mXAjmIhPAMY

Michael Jackson will appear as the protagonist, and split into three sets of personalities, playing on Sigmund Freud’s theory of psyche apparatus; the mindset of the brain demonstrating triple levels of sub consciousness; the Id, the Ego, the Super-Ego. Each “character” will be physical demonstrations of each level, consequently elaborating on the exasperated efforts of his own conscious and unconscious struggles.

Visuals

This will be further verified when the characters Jackson portrays will wear various costumes with a design which will define the mood of the short film/music video, whilst adopting the plot of the psyche apparatus. An aspect of the singer will represent the super-ego – an area of the subconscious with aims of unrealistic aspirations – Jackson portraying a sophisticated physician. The secondary aspect will characterize the ego – the conscious repressing the ambitions, and setting a realistic goal. The chosen costume will use inspiration of the astrictive, leather suit of Pfeiffer’s Catwoman and Depp’s Edward Scissorhands, combining that of the clawed/scissor hands, displaying restrictive movement. The third aspect will ultimately approach the ideal of the id – the primitive instincts, and uncontrollable desire of an individual. – the artistic adaption of the costume will present Jackson in a docile, fetal state, unable to experience individual thought, or a single movement (the most fatal reaction of drug overdose, where the patient is close to brain-dead) – relying on the super-ego, like a father figure – as explained by Frued in his own descriptions.

How this will be visually achieved, is matching the pictorial approach of Tim Burton, basing it upon his earlier films Batman Returns (1989), Edward Scissorhands (1990) – where the use of morbid, mournful shades of black, and grey with the dinginess of dark violet, blues and reds are regular, within the characteristics of the people, or surroundings of that character. This practice, outside of film is found in Burton’s various water colour pieces. The depth or lack will establish the power or weakness of the scene and the actions of the character. Using the study of the meaning of colour, that colour will validate the authority of Jackson’s manifestation.

For example, the variants of white will be worn by the super-ego and id – only the complexity of the shade will differ. The false protagonist (in literal terms antagonist/dueteragonist), as a physician will be attired in a pristine (snow) white medical jacket, for the egotistical illusion of admiration, placing status above everything else. While a dingier shade (ex. eggshell white) will be adorned by the tritagonist, to form the concept that the id is considered the lesser aspect of the human psyche – thus the most hated aspect of Michael (the drug abuser) himself.

The true protagonist, the ego, alternatively will be dressed in black, addressing the “reality” of the situation, and instinctively standing out of the conflicting impressions of the subconscious.

Programmes & Technique

Watercolour; definition of colour

Pencil; sketch work, rough layoutBoth will be used for storyboards, moodboard, scenery layout, and character and costume design. Adobe Photoshop; strengthening the colour

Once the storyboard, moodboard, designs for costume and character, and scenery layout is set; all aspects of the process will be taken into computer and adjusted so the definition of the imagery is heightened to a more professional finish.

Storyboard and moodboard will be structured to be of A1-A2 quality, once all three parts are combined into one image, while scenery, character and costume are envisioned to be of A3 position once printed, to enhance the semi-realistic detail, wanting the illustrations of Michael Jackson to be of hyperrealism so it replicates the astounding excellence found in only photography.

©
Lauren Richards-Evans
University of East London
BA Hons Graphic Design and Illustration
thechocolatier@hotmail.co.uk
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VERSION 2

Soon