Ying Fei Sun, studio class
1. What’s your individual perspective on experimentation? Answer: I think that the experimentation is a new attempt and challenge to the filming technology and skills. It is very meaningful because all those commercial movies and advertisements are transferred by experimentation. Consequently, experimentation explores the new pictures and develops new skills. Some have combined with business and accepted, and they have become the commercial movies on the screens at the end.
2 Experimental practice (is this term an oxymoron?) Answer: I think that both are for the same goal, which is based on attempt and practice.
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.)
Answer：Nowadays era, because of the advanced technology, more and more artists focus on social interactions. For example, to combine with the real people and vides is one of the media events. Such videos are being used on commercial area, which means that most people are interested in it. I think that the media should be very flexible, not stable.
1. What work do you wish to pursue? 2. Is it a medium/ practice/ technique that you have had an interest in and not yet an opportunity to explore?
In this course, I want to discover lights. Lights are the key points in the video because only appropriate ways of using lights in the video can make characters or objects tridimensional. In addition, the lights of images determine the color of the pictures. During my investigation, I will choose to read some reference books to get some details of positioning the lights and camera lens.
Certainly, I hope that my research is to help my work, not just duplication. In my project, I will try to play around with lights and to let the lights be the main characters in the experimental video.
(Comment Weiyuan Li) You are interesting on those technique especially the lighting which like every Film-Maker does. I think the lighting skill is flexible and complicate. I'm interesting on how you experiment on the lighting and I'll look forward on your research (end comment).
Here is the link to the tutorial I was talking about today.  Good luck!
Inspiration actually comes from 3D. Currently, 3D technologies being the latest TV & Film technique, more and more people is going to attempt this technique. Because this latest technique can embody and emphasize the key point, we begin to image a kind of level sensory which adopts the superposition of image levels to give prominence to the theme’s key point. It reminds us of the difference between the tradition and the modern, the west and the east. The adoption of 3D technology can stress these differences, so we use the Oriental’s traditional symbol to combine with the Occidental’s mainstream moving images.
It reminds us that Peking opera, the quintessence of Chinese’s culture and national opera, have more than 200 years’ history and high reputation both at home and abroad. Being created at around 1840 and prevailed in 1930-1940, Peking opera still exert world influence as the role of national opera. It is the representative of the drama of Han nationality and the symbolism of the Chinese’s culture.
In Peking opera, Facial makeup is the distinguish feature. Colors on people’s faces can represent personality, character and destiny that can help you to understand the plot of the opera. Briefly speaking, red face means good and faithful; black face means middle and brave; blue face and green face means middle and wild; yellow face and white face means bad and double-hcanted; gold face and silver face means mystery and supernatural. Facial makeup derives from the religion and the dance mask in archaic times and now local operas remains this tradition.
The imagination that a modern person wearing facial makeup lived in western countries and kept changing different facial makeup can give you a concept that Chinese living in western countries have to change their characters and images. And they also shoot other scene--POV of leading role, which is the western world in view of the leading role. During shooting, we make masks close to the camera lens on purpose in order to emphasize the prominence effects. Thus, the adoption of 3D technology aims to stress the contrast. The distinguish feature of the whole film is the contrast between the west and the east and the differences from different scenes.
In this attempt, we found that masks’ special color resulting in the incorrectness of color if the red/blue glasses are worn, the red mask will be dark in color. Otherwise, 3D effects can be changed according to different scenes. Due to the limitations of the equipment, this attempt can be a good precedent. In the following shooting, it’s better to adjust and measure IOD data and choose the proper color in advance.
the soundtrack of the chinese opera :
the sound name:Farewell My Concubine (Chinese: 霸王别姬) is a Chinese Peking Opera. A more literal translation of the Chinese title is The Hegemon King says Farewell to his Queen. The play tells the story of Xiang Yu, the self-styled "Hegemon-King of Western Chu" who battled for the unification of China with Liu Bang, the eventual founder of the Han Dynasty. In the play, Xiang Yu is surrounded by Liu Bang's forces and on the verge of total defeat, so he calls forth his horse and begs it to run away for the sake of its own safety. The horse refuses, against his wishes. He then calls for the company of his favoriteconcubine, Consort Yu (aka Yuji). Realizing the dire situation that has befallen them, she begs to die alongside her master, but he strongly refuses this wish. Afterwards, as he is distracted, Yu commits suicide with Xiang Yu's sword. The novel Farewell My Concubine by Lilian Lee and its film adaptation of the same name use the play as part of their stories.
here is an the play show:
There is also a film as the same name Farewell My Concubine (1993) Directed by Chen Kaige,which has been nominated in Best Foreign Film and Best Cinematography at 66th Academy Awards, 1993, in this film, the two main characters play this opera many times
what is 3D: there are 3 kinds of 3D moving images： 1 computer-generated images (CGI or CG)
-- 3D virtual models of bojects
2 stereoscopic (s 3D)
--through appropriate glasses, seem to reach out of the screen
(which used ) this is basically using 2 same cameras shooting one sense, and put them together during the post-production
3 2D－3D conversion:
3D conversion turns 2D footage into 3D by generating the second point
of view Bold text
1. is a labor-intensive process that can’t really be automated 2. is more efficient with footage intended to be eventually turned into 3D 3. should be considered for FX-heavy shots, scenes, or movies
The four basic processes are:
1. Turn movement parallax into viewpoint parallax. 2. Cut and nudge layers. 3. Use a depth map as a displacement map. 4. Project the 2D image on a 3D model of the scene.
Converting is a simple process but a complex project.
1. Give it a try in your free time. It’s fun and easy. 2. Don’t be fooled; converting full scenes or movies is exponentially complex.
--1950s, 3D used sunglass “neutral-gray filters” which provieded a full-color, highly comfortable viewing experience
--late 20th century: associated with cheap red&blue glasses --As a result, in a “renaissance of 3D, ” we may see as many 3D movies in the future
2005 –2010 as in 1950 –1955. The 1950s ’ golden age of 3D and the current renaissance
Both occurred when regular cinema was fi ghting against a powerful challenger. It was the TV set popping up in living rooms, and it’s now home entertainment electronics, including home cinema, video games, legal video on demand, and illegal Internet fi le sharing.
This is definitively one of the few questions that the whole movie business is trying to answer. Shall we prepare for a complete switchover to 3D, like we did with color and sound? Or shall we consider 3D cinema as passing hype that will fall into oblivion once again? Let’s compare the current renaissance with the passing 3D hype of the 1950s.
When you are looking at a stereoscopic picture, your brain extracts and computes the size of the disparities to assess the distance of the objects.
3D cinema creates the illusion of volume by projecting two pictures, one for each eye.
1, Special glasses filter the light and isolate one picture per eye. 2, 3D has been on and off ever since cinema has existed, with a notable peak in the 1950s. 3, Technical difficulties in production and exploitation led to poor 3D quality, and prevented it from definitively taking off. 4, The digital revolution has created the possibility of perfectly matched left and right pictures, that is, a comfortable and enjoyable 3D experience.
Recent 3D releases generated three times more revenue per screen than2D prints.
IOD: the distance between two cameras, which creates the layers for the images