Weiyuan Li, studio class

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I don’t have any experiences of experimental work. I check this word on line and get a definition as “Experimental film is an artistic practice relieving both of visual arts and cinema. Its origins can be found in European avant-garde movements of the twenties …The term describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking”. I do agree with this. The artists do a method of testing of the creations on the leading edge of the arts field. In my opinion, I don't think experimental practice is an oxymoron. The experimental art like an explorer in the arts range. By this time, many artists attempt on some alternative social phenomenons such as mental disease, infantile autism and homosexual. Those experimentions carry more wallop to the audiences' psychology. During the Experimental Practices studio, I’m going to experimenting on some creative ideas and be more bold tests on my creations.

[1]

(Comment Fiona Bowie) Weiyuan, you need to spend more time on this assignment. I would recommend spending a considerable amount of time on UBU.com and also do some research on precedence of experimental practice in order to gain a deeper understanding and articulate examples, artists names, understand historical context etc. If you follow the questions step by step, this will help. Also, have a look at some of the assignments on this wiki to gain insights into other's ideas around this subject. I am not sure what you mean by 'attempt on some alternative social phenomenons' nor the content of the sentence. Are you suggesting that homosexuality is an alternative social phenomenon? Or mental illness? or infantile autism? Much more understanding and consideration of this is needed. Lastly your sentence on what you are intending for the term needs to be a much longer discussion. Please answer each section individually and write a short paragraph on each. (end comment).


Assignment 1

1. What’s your individual perspective on experimentation? (eg. working against being deliberate? working toward spontaneity/improvisation or working outside or your area of expertise/ comfort?)

I think experimentation is to experiment into the unexplored arts field. The artists do a method of testing of the creations on the leading edge of the arts field. They create various ways to convey their ideology or worldview.


2. Experimental practice (is this term an oxymoron?)

I my opinion, I would like to say, there is no right or wrong way on the artists who experiment on different art forms. I believe experimental cinema is mainly base on mental spontaneity.


3. What is the significance of experimental work at this particular point in time (considering our global general social/ political/ environmental milieu: social interactions, art practices, art business, politics, social movements, social networking etc.)

Just as I had mentioned before, the experimental art is the leading edge of the arts field. Nowadays, some of experimental results have been accepted by dominant ideology. For example, many experimental cinema elements are widespread used in the commercials or the MTVs and create huge economic Interests.


4. when experimental process(es) become canons:
a. using UBU.com as a resource, research and identify an experimental work that interests you (tell us why). Include a link to this work in your paragraph. [2]

Cao Fei - Whose Utopia (2006) Cao Fei was bron in China GuangZhou in 1978. Whose Utopia express a piece produced in collaboration with workers at the Oshram light factory. I really like her work because I can image what are the works feeling in the factory such as the sound of machines, The smell of chemicals and the pressure of works. Our material life is build on those huge machines and Small workers. At the end of the video the works showing their talents in the "hostile environment" which shock me. In my opinion, I can see the most prowerlessness group showing they easy and sample dream to us.

1. What work do you wish to pursue?

For me, I would like to experiment on the aspect of the Light through different the medias like glasses, water, paper ect and film on the different vision.

2. Is it a medium/ practice/ technique that you have had an interest in and not yet an opportunity to explore?

yes! I'd like to explore on the technique on the lighting studio. and I'm also insteresting on research on the cutting-edge technology of reproduction.

3. is it a 'stab in the dark' in the interest of taking you into personally uncharted territory?

No! I tried something before.

4. It is encouraged to be outside of your current experience/techniques, but is it also outside of your conceptual habits/ comfort zone?

5. What is it about this area of inquiry/subject/media/medium etc. that interests you.

It is probably about the media. I'll research on the artist work or try something for video shooting.



Here is the link to the tutorial I was talking about today. [3] Good luck!

Taeyoung



YingFei Sun and I are looking for a possibility film. Finally we target on the 3D stereo film. We search in the library and find some information.

We study on the of the 3D stereo film on the book 3D Movie Making[4]

POSITION RELATIVE TO THE HORIZON

Where our line of sight hits the ground, defi nes one end of our visual range, the horizon is the other end. As objects move away from us, they get closer to the horizon. Cars, boats, trees, houses, and everything else is ordered in depth by its position relative to the horizon, with the notable exception of airplanes, which cheat us by fl ying high or low.

Stereoscopic depth cues

Stereoscopic depth cues are just a specifi c kind of motion parallax cues. We are using our two eyes as two points of view, and we make comparisons between these two views. Discrepancies between the two images are called “ retinal disparities. ” Because we actually process the two pictures together, with specialized neurons in the visual cortex looking for these disparities, we can extract more information, more accurately, than we can from motion parallaxes. What are we looking for? Mostly horizontal parallaxes, occlusions revelations, some shape changes, and convergence cues. One could rightfully argue that there is no stereoscopic depth cue that is not a motion cue. Because this book is addressing the generation and control of stereoscopic depth cues, we need to study them specifi cally in the stereopsis process.

Range and limits of stereoscopic depth perception

Whereas the monoscopic depth cues have virtually no range limitations, stereoscopic perception hits a limit when objects are too far away to be seen differently by our eyes. This limit occurs in the 100- to 200-yard range, as our discernment asymptotically tends to zero. In a theater, we will hit the same limitation, and this will defi ne the “depth resolution ” and the “ depth range ” of the screen.

MAXIMUM AND MINIMUM DISTANCE

In our natural environment, we are not used to looking at objects farther away than infi nity. Even when we are looking at the stars, our two eyes ’ optical axes are parallels, and it’s a very relaxing confi guration. On a theater screen, this is the case when the left and right

Celine c.jpg


base on those basic theories, We start to study on Fuji FinePix REAL 3D W3

W3 Front Left s-001.jpg[[5]]

We start to analysis the still image of 3D stereo such as

3D-1.jpg[6] and [7]3d-2.jpg.

we use those two pictures to figure out how 3D image work. 

In this experiment, we found a interesting thing that is: when we use this Fuji 3D camera to take photo on the 2D piciture, The 3D photo still provide 3D stereo feeling to us. [8]3D image.jpg

After those experiment, we begin to work on 3D video.[9](Because online player does allow the alpha with video, so we probably cannot see the 3D stereo effect in this link. However, It shows how we study on the 3D camera )

we also join the 3D Meet Up to learn the leading edge of this technology.



We spent almost a week to discuss on concept of our 3D stereo film, after we have mastered the basic Stereo film knowledge and skills. till a day, we chat with a canadian student, after a while, topic can't continue. Then we thought how huge different culture background that we have. Why don't we make film to show what is our feeling, a new visiter's point of view in Canada. So we reach an agreement which name call Culture Shock.


The challenge of this film is to design a shot of stereo vision and how to express the culture shock. Finally, we decide to use a mask to express eastern tradition and dancing in the modern city that provide the contrast to the audiences.

We spent two days to shoot in downtown, two day editting. However, in the group meeting, Fiona told us that she like our concept but it is not distinct enough and suggest us to show more about our point of view. We do agree of Fiona's suggestion.[10]


After Second 3D meet Up, Sean Arden Start to teach us to use the side-by-side 3D rigs

530076 414362118574407 100000018682874 1662435 1592968438 n.jpg[11],

Such as the distance of two camera on this side-by-side 3D rigs must be over 10 CM, and different focal length has a specific adjusting.

We decide to use this new skill to work on our new shot. nevertheless, we can find the two same lenses on 5D mark 2.


Finally, We finish our final Version of Culture Shock. Then a new challenge come up. When we decide to use sound to develop the concept. but we hard to combine the east and west sound together. We experiment this for whole night. lastly, we chose a traditional Chinese opera which name is Europeanized Chinese constructions [12]


This is our final version of our 3D stereo experimental Film [13]