Tag Archives: Lecture Notes

Week 5 Flip Lecture

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Social Media Producer flip lecture notes:

Jonathon Hutchison is a social media producer, he’s studied at Bachelor of Applied Communication at RMIT University in the past and have made a career for himself using his degree as a social media producer. The process of being a social media manager may be challenging, for example, the process of a new project titled The Stage Fight that explores performers stage fright before a performance, this is similar to the process of making a film, factors that must be considered are the pre-production, production and post-production stage of the project as well as the distribution period. During the early stages of working on a new project the producer needs to emphasise the core of his pitch so may the best pitch win some funding – Hutchison crowd sourced his funds to make his project happen.

Symposium 10 Notes

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Some good points taken note of at the lecture:

  • Some key considerations of creating a multimedia work according to Hannah is how the clips are linked together and how the interface reflects that. She states that, ‘it’s not just creating a story, but going through a process of expanding ,not making it narrower’. Whether it’s going to end or goes forever. While Jasmine notes the different layers in a K-Film and how you can form connections through the clips. Seth notes that some considerations to consider in creating a Korsakow film includes the consistencies of the interactive documentary, how films are designed and having multiple relations with one another, the fragmentation of the K-Film and how it is combine with the taxonomy in the creation of a K-Film. On the other hand, Adrian argues that, ‘if you don’t listen to the material, your work will not be as good as you believe’.
  • Risks in K-Films is related to linearity and emergence.
  • K-Films may reference to semiotics -‘What can I make it mean? How can language can enhance it the documentary?’
  • Is having an end SNU is a good idea to make a film have a conclusion? Not necessary. You can design and construct your K-Film to have a micro-conclusion throughout the duration of the film. You can have an end SNU, but maybe a lot of stories don’t have endings.
  • Sound tracks and image tracks in Korsakow can play a sounds independently of the K-Film.

Symposium 10

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Some good points taken note of at the lecture:

  • Think of K-Films as having a poetic relationships, also, the creation of relationships is not literal.
  • We can emphasis moments of contemplation through the ambiguity of key-wording and listing as well as the design of the interface of K-Films.
  • Repetition is fundamental to your learning and outcome, e.g. if you paint a portrait, you’ll paint again as you want to embrace your skills to make yourself better.
  • Media literacy – aesthetic decision, economic decision, etc. act as “glue” for filmmakers who decide on cohesion in their films.
  • The correlation of emotional impact and logical elements in K-Films – you can create mood rhythms based on keywords, you can use  juxtaposition as an approach to create an emotional aspect; happy vs. sad, angry vs. depressed, to your K-Films.
  • Showing vs. telling – Don’t think you are describing an emotion but think of it as your audience experiencing an emotion, you are building a way to experience something. How do you plan to satisfy your audience experience of watching your film?
  • Having a good theme across your K-film will make your film stronger and concise, e.g. the theme of body parts or colours.
  • Themes, ideas and proposition, the use of patterns to explore these – infer this rather than showing it.
  • How would you like to portray the K-Film? What would you like to represent? What works?
  • The relationship of theme and pattern: how your content explores what that theme is.
  • Adrain reference a K-Film to a dance, ‘A K-Film is a choreography, its a dance’ – he stresses that video clips are part of a dance, the interface can be the composition (of the dance) and the parts have multiple meanings.
  • ‘You’re actually correlating certain possibilities, a set of possible relations of each clip linking to another, you have enormous control over what the audience sees in your K-Film.’ – Adrain says in relations to the implications of juxtapositioning of shots and the forming of it meanings.
  • A K-Film explains what we see in the work – it is opening up a new perspective for the audience to experience.
  • When you watch a K-Film,  you look for meaning and not for narrative or a conclusion. The framework must be contextualise and the context needs to adequate.
  • What determines the relationship of the meaning of a shot? Is the meaning lost?
  • Don’t confuse the meaning to the shot – the meaning lives outside the shot.