Adrian: Korsakow Interfaces and Screens

In the final k-film projects you have the freedom to design an interface to your own delights. However, keep in mind that some basic principles of good design still apply (just as when making a film you might be able to write your own script and storyboard and film it however you like, but basic compositional rules about good framing and composition remain). While you are not design students, your teachers can give a lot of feedback around these elements of your project – and as an interactive work the interface is a fundamental part of the experience of your project.

More formally, within your interfaces you can now experiment with:

  1. background – think about using a different colour to black. Or perhaps a photo? How? Why?
  2. Korsakow supports a continuous background soundtrack, do you want to use one? How? Why?
  3. how many thumbnails do you want to use? Why? (Imagine a wall of thumbnails, perhaps a link to a template that is only thumbnails…)
  4. should you use video thumbnails? Perhaps at a different frame speed (imagine 1 frame per second so they sort of stutter). Should the video in the thumbnails have sound? Why? How could I use this? Imagine an interface that is only video thumbnails.

These are some of the elements that make up your palette (or tool box) for your projects. Each provides choice but that also means decisions that affect how you can think about your work and how others experience it. Good work chooses to work with a small set and for these things to make sense in relation to the project. What I mean by that is you don’t use everything just because you can. That is like using every visual effect possible in edits because they are there. This looks bad, and comes across as, well, lacking the ability to judge and express discernment. You fade because a fade is good here, it works. You dissolve for similar reasons. But if you cut here, dissolve there, fade next, barn door wipe after that, iris in the next time. Well, already it will look and feel like a software demo, and not a film. Same with your interface. Just because you can use everything usually doesn’t mean you should.

You can also edit the index.html file, after all it is just a html page. If you open it in an editor there are things there that you shouldn’t change, otherwise the project will break, but you can easily add text or edit the existing text. Perhaps add the title of the work here? A copyright notice? Something else?

Finally, include a credit screen or sequence in your project. It might be the opening film (which should be a jpeg, unless you nominate a video clip as a start film). This is where you can also show the title of the work, and the names of the people who made it. These works will be viewed by others, not just your classmates, so have your name on there, let people know it is yours.

Adrian: Korsakow Workflow

This is a cut and paste from stuff I put together in 2011. It holds good today.
This is one of the most important things to understand when using this software (and this applies to all projects on a computer!). Understand:

  1. what files are needed
  2. where they are needed to be
  3. why
  4. and have a system that is easy to use that achieves this

Then

  1. have a method for naming, storing, finding the media assets that your project needs
  2. keep your media assets in the same place for the life of your project
  3. same with your project and the export folder

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Dense Nodes

In network media we discussed small world networks, dense nodes, and so on. A korsakow film is exactly this sort of structure. Below is something I wrote in 2011, reposting here as it should help you understand Korsakow film as an architecture and structure that you do things with, and an architecture and structure that is, in its very DNA, the same as the networks we are working on. It’s sort of a mise-en-abyme moment really.

A significant idea that has a lot of relevance for things like the internet, hypertext, and social media (which are all forms of distributed networks) is the idea of a ‘small world network’. This is related to the famous experiment by Stanley Milgram about there being a maximum of ‘six degrees of separation’ between any two people, anywhere in the world. A small world network assumes lots of a small number of connections between individuals (nodes, clips in a k-film, links on the web, people you know), but with a few individuals who have a lot of connections. In relation to social networks these links are not about how close you are to others (whether geographically or personally) just that you know them. The existence of only a small number of people who know a lot of other people (who have a lot of connections) makes it much easier to get from one group to another, from one individual to another. The key features here are that these connections (how many people you know) is not equally distributed – I know 100, you know 200 – and that to get from one individual to another you do not need to know all the connections, all you need to know is somebody that you think will be closer than you are. Continue reading

Adrian: What is Korsakow?

An introduction I wrote in 2011, YMMV:

So, you’ve downloaded Korsakow. The first thing is to actually put the program in the right place on your computer. This is just good housekeeping. On a Mac this is in the Applications folder, think it is the same place on a PC. You do this so that a) you always know where it is, and b) some programs need to know where they are to work properly, and the applications folder is where they are supposed to live. Continue reading