Transitions

I would like to keep a fluid motion throughout my animation, but keep the images mostly static. With the form I’m trying to create, the point of view will always be panning across the wall, creating a fluid motion, but the images will be “sprayed” on as the camera is moving by, so in that sense, the images will be still. By arranging the images by size and how close they are to each other along the wall I can create the rhythm of the narrative.
Once I add the spray effect by revealing each image on the wall, I’ll have some more control over the speed at which the images are revealed. It’s difficult to create an animation this way because I am editing the photo placement as well as how fast they appear—all while keeping it believable that they are sprayed onto a wall by making them move in the same direction and at the same speed.
By choosing this method of animation, I’ve found that the previous image lingers on the screen longer than in traditional animation. This leads to images having several different meanings, which I find very interesting. For example, the image of the volunteer hand seems at first strong an free-willed as Michael explains that they had a chance to volunteer, but then as the tone switches to his father’s war when many people didn’t come back, the image of the hand seems more like a shadow—a memorial to those who died. I’d like to experiment more with this aspect of my style and see how I can say more than one thing with each image. I feel like it’s a nice corollary to the things that Michael talks about.
I’d like to stop movement on the last set of images to indicate the end as well as focus attention to what I feel is the “moral” of my animation. This also provides a way to reflect on the last images and have the meanings change as Michael explains more about humbling himself as he becomes a civilian.

McCloud’s Transitions:

1. Aspect (Iraq to Sandstorm)
2. Scene (to hands)
3. Aspect (to cross)
4. Scene (to walk)
5. Aspect (to target)
6. Aspect (to sand)
7. Aspect (to hymn)
8. Aspect (to scared)
9. Scene (to killing)
10. Aspect (to humble)
11. Action (to eye)
12. Scene (to Vietnam)
13. Aspect (to Korea)
14. Aspect (to draft papers)
15. Scene (to volunteer)
16. Scene (to portrait)
17. Aspect (to moving on)

Three Sentences

I want my final to communicate the quiet pride that Michael Martin feels about his experience of volunteering for the marines. The audience should not see my animation as propaganda for joining the military, but an un-romanticized reality of Martin’s pride in his choices and pride in fellow marines. My three-minute audio clip does not distinctly explain whether his experiences were good or bad and through my illustrations I’d like to keep that feeling of ambiguity while reinforcing Martin’s simultaneous feelings of pride and humility.

Reflections

Reflections on “Pure Product” and the interview

The article “Pure Product” is really just illustrating the point of the Pacey article in another way. Wainaina is explaining all of the devices that are meant to be charitable, technically ingenious and complete solutions to technical problems. The devices such as a wind-up radio and $100 laptop may be solutions by our Western society’s ideals, but are not received well because African culture has a different point of view from Western culture. The wind-up radio may be a solution to the technical problem of conveying information to a population that does not use electricity or obtain news another way, but the information being sent on the device is not sensitive to the listeners. As the author put it, the broadcasts told them that they are fucked—they are impoverished enough to “need” the wind up radio and the information being sent is about AIDS. He describes the only people using the radios anymore as people from Western society that feel “vague guilt” for things they do not experience such as poverty and the AIDS epidemic.
Similarly, the corn from America might as well have been good food, but the message it sent to the people eating it was that they were in need of help, when they didn’t feel they were needy. “Pure Product” is the idea that a self-contained technical device can solve some problem and that it is pure because it is charitable, but it really fails to take into consideration how the product will be received and whether the recipients even want the device.

We reserved a room in the Biomedical Library to conduct our interview from three to six, but Michael had to stay at work for a bit longer so we didn’t get started until about seven. We set up the camera, waited, played hangman, got to know each other better, entertained ourselves, talked about how to conduct the interview, talked about our expectations, revised the questions and so on until Michael finally showed up.
When Michael came in I could tell he was eager to start sharing his stories with us, he gave us each a Marine Sergeant coin and began explaining all about it—I had to hit the record button right away so we didn’t miss too much. We all sat around the table out of sight of the camera, but spread out enough to make him feel comfortable. I sat to his side so he didn’t feel like we were all facing him to interrogate.
It was difficult to acknowledge everything he said without saying “yeah” or “uh-huh,” but he kept his answers to the questions nice and long, explaining how he felt in great detail. He seemed like he came into the interview wanting to share his ideas with us and even some very personal details.
The library shut off the lights to get ready to close up and that cut the interview a little short, but we still managed to get a great deal of usable footage from the 52 minutes the camera was on.
I was really happy the interview was successful because I was so nervous while I was anticipating it for those four hours we waited. I’m not upset that we waited so long because I saw our waiting as a normal occurrence in video production. The crew needs to be set up and ready to go no matter how long the talent takes to be ready to perform. I was really just relieved that Michael was so friendly and eager to tell us his stories.

Expectations

When I first read the description for the course, I thought that we were going to visit elderly veterans that were in care at the VA Hospital. I expected to interview someone like my grandpa, a World War II veteran who fought on the front lines, was injured several times during the war, lost a brother, but came back home, worked hard and started a large, loving family. It didn't occur to me until we started the course that the person we interview could be a younger veteran or someone who didn't have a combat position.
Originally I thought that I would ask about this person's harrowing experiences while at war and his strong will and set of values that he carried home with him. I wanted to relate to an older perspective and shape it to describe duty and honor to my generation. I realize now that I may find that this veteran joined the military for reasons other than a feeling of duty. This person may not agree with the war they served during, or may have been disillusioned by what he has experienced.
Now, I really have no expectations about our interview. I want to be very specific with my questions, but also wide ranging so that I can get a full picture of what is important to this man. After I've discovered what is important to him and to me as well, I can better decide the form that the animation will take.
I had also expected to dread the interview, to feel very uncomfortable or scared to meet this person. I had assumed that we would talk about heavy topics of war and loss, but I want to touch on all aspects of this person's life. Instead of dreading the interview, I'm really becoming excited about meeting this person, finding out a bit about him and choosing how to tell his story in a compelling way.