Personal reflection: 

Over the course of this semester, my group Jess, Maddie, Alice, and myself, worked passionately on our documentary “Rewilding.” Our primary goal was to engage our audience and communicate the urgency of ocean conservation. Through the screening of our documentary, we aimed to evoke an emotional response and inspire action. One of the key concerns of our studio was picking an impact goal and ours was the impact of human activities on marine ecosystems, and we sought to highlight this through a combination of stunning visuals and personal narratives.

Our use of serene footage, voiceovers, and a juxtaposition of beautiful underwater scenes with alarming montages of trash aimed to create a powerful impact. As Rosenthal and Eckhardt (2015) emphasise, effective proposals and by extension, documentaries require strong opening hooks to captivate the audience and convey the significance of the subject matter. By employing this technique, we hoped our documentary would not only inform but also move our audience to reflect on their relationship with the environment and consider taking meaningful action towards sustainability.

If we were to continue working on “Rewilding,” there are several core areas I would focus on improving and extending before making the final product which in my mind would be a 40-1 hour long film with potentially a few different interviews and perspectives. Firstly, the visual quality of some underwater shots could be enhanced. Due to equipment limitations, some footage did not meet our desired quality standards. Investing in more advanced underwater cameras and lighting equipment would significantly improve the visual appeal of our documentary. Inspired by Orlowski’s (2017) use of time-lapse photography in “Chasing Coral,” I would also incorporate similar techniques to vividly illustrate environmental changes over time. This would provide a powerful visual metaphor for the urgency of our message.

Another area of improvement would be the audio quality of the interviews. During the production phase, we encountered technical challenges with our microphones, which affected the clarity of some recordings. Conducting more thorough pre-production planning and testing would help mitigate such issues in future projects. Additionally, I would like to explore more participatory modes of documentary filmmaking, where subjects like Narayana, our freediver, are more actively involved in shaping the narrative. This approach, as discussed in “Honest Truths” by CMS Impact (2010), would enhance the authenticity and ethical integrity of our work.

Other Projects from our studio:

“Leftovers to Landfill”

The impact documentary “Leftovers to Landfill” effectively sheds light on the critical issue of household food waste, inviting viewers to reconsider their relationship with consumption and waste. By following Seth’s journey, the film illuminates the complexities of food waste in society, emphasising the power of individual actions in driving meaningful change. One specific insight from this documentary is the emphasis on actionable knowledge and simple solutions. By highlighting the simplicity of behavioural changes, such as reducing food waste, the film empowers audiences to take tangible steps towards a more sustainable future. This aligns with our studio’s focus on raising awareness and inspiring action on pressing social and environmental issues.

Roofless Realities:

The documentary addressing international student housing problems and mental health issues in Melbourne offers valuable insights into the challenges faced by international students. Through interviews with Manu Felipe and Jenna, the film provides a glimpse into the real-life experiences of international students and the systemic issues they encounter. One key insight from this documentary is the importance of effective communication and preparation when conducting interviews. The  group reflects on the learning process involved in conducting interviews and emphasises the significance of communication in ensuring a smooth interview process. This insight directly relates to most documentaries including our own as we also conducted an interview the importance of empathy and sensitivity when engaging with interviewees, a crucial aspect of impactful storytelling.

Both of these documentaries offer valuable insights into pressing social issues and the process of documentary filmmaking. “Leftovers to Landfill” highlights the power of individual actions in addressing environmental challenges, while the “Roofless realities” sheds light on the experiences of marginalised communities. Reflecting on these insights, I am reminded of the diverse perspectives and experiences captured through documentary storytelling, and the potential of media to inspire change and foster empathy. Moving forward, I aim to incorporate these insights into my own media projects, striving to create impactful narratives that resonate with audiences and drive positive social change.

Another studio:

The other studio I chose to reflect on is Visual Blueprint.

I chose ‘Blunder’ which is a short drama that employs a game of chess as a metaphor to unravel the intricate dynamics of a complex and now terminated relationship between two former lovers, Blake and Alex. Through the strategic moves in the chess game, the film delves into the psychological depths of the characters, exposing their individual traits and vulnerabilities. This creative narrative approach aims to captivate audiences and convey the story through inventive camera angles and rich symbolism.

I liked the simplicity of the film yet how emotive it was. The cinematography was clever and very crisp, I felt almost a sense of anxiety from how still and thoughtful each shot was. Chess is a strategic game so the way they intertwined the metaphors was so clever and I absolutely loved the idea. the only point of criticism I have is the visible clip on mic it just pulls you out of the story and reminds you that its not ‘real’ and a production.

Over the course of the semester, working on our documentary “Rewilding” with Jess, Maddie, and Alice has been a great experience, significantly broadening my understanding of impact documentary filmmaking. As the cinematographer, responsible for archival footage and interviews, I delved deeply into both the practical and theoretical aspects of creating an impactful documentary.

One of the biggest realisations was the immense power of visual storytelling in driving social change. As we focused on more of a poetic/participatory feel for the documentary, having the voice overs over serene footage was actually so powerful. Documentaries like “Chasing Coral” and “A Plastic Ocean” taught me how critical it is to balance visuals with compelling narratives to engage and mobilise audiences. “Chasing Coral” uses breathtaking underwater cinematography and time-lapse sequences to depict the rapid decline of coral reefs, highlighting the urgency of climate action (Orlowski, 2017). Similarly, our documentary has underwater sequences with a fast-paced trash montage that throws the audience out of the dreamlike state. These films demonstrated the importance of blending emotional appeal with factual information, a principle hope “Rewilding.” captured. 

Throughout the process, I discovered that making an impact documentary involves several layers of complexity. I was aware, but it’s a lot different when you’re actually the one doing it. I discovered different aspects, from ethical considerations to technical challenges. One significant challenge was ensuring the ethical use of archival footage, as discussed in “Honest Truths” by CMS Impact. The integrity of our documentary depended on accurately representing factual and contemporary issues without misleading our audience (CMS Impact, 2010). This meant rigorously verifying the authenticity of footage and responsibly editing interviews to maintain the truthful nature of the documentary. I didn’t want to depict our interviewee in a way that wasn’t true to his nature, as I aimed to tell a true story, ensuring that we adhered to ethical storytelling principles.

One approach that worked well was integrating participatory and observational modes. By interviewing Narayana, a freediver, we provided authentic, personal perspectives that resonated with viewers. Observing him in their natural environments added depth and authenticity to the narrative, similar to techniques used in “A Plastic Ocean” (Leeson, 2016). This method underscored the advice to “aim for simplicity of style, clarity of language” (Rosenthal & Eckhardt, 2015). To make the proof of concept snappy and thought provoking. 

However, we faced challenges in achieving the desired visual quality in some underwater shots. Despite our best efforts, capturing high-quality underwater footage proved difficult due to equipment limitations. The footage I had was shot on a GoPro when the water visibility wasn’t the best, however, it did add a raw and natural feeling to the doco, which I think we made work well. However in future projects, I would invest in more advanced underwater cameras and lighting equipment to enhance the visual appeal. Additionally, incorporating time-lapse photography, inspired by “Chasing Coral,” would vividly illustrate environmental changes over time, providing a powerful visual metaphor for the urgency of our message (Orlowski, 2017). I would also like to work on my audio skills; I wasn’t exactly in charge of this area. However, due to the nature of time pressures, I ended up having to do the interview on my own and had issues with the mics. In future, I would like to run a few more tests beforehand so I don’t come across these issues.

My ideas about impact documentary filmmaking have evolved significantly. Initially, I viewed documentaries primarily as educational tools. However, I now appreciate their potential to evoke emotional responses and inspire action. The Doc Society’s Impact Field Guide emphasises the capacity of documentaries to create cultural moments and prompt people to engage and act (Doc Society, n.d.). This principle is something I aspire to explore further in future projects, perhaps by delving deeper into participatory modes where subjects are actively involved in shaping the narrative. I would love to follow someone through their journey of change. If I were to continue with more filming for “Rewilding” in the future, I would follow Narayana on his ventures, whether it be beach cleanups, diving for rubbish, or overseas. I feel that organic observational footage could be something amazing. 

I hope our final work engages audiences by combining emotional storytelling with factual information, highlighting the importance of ocean conservation. We aimed to create a film that resonates deeply, inspiring viewers to reflect on their relationship with the planet and take meaningful action towards sustainability.

To consider how someone might engage with our work in the real world, we envisioned broadcasting our documentary at local events along the coastline and partnering with conservation organisations for them to post it on their social platforms and YouTube, where it could reach a broader audience. Additionally, screening it at environmental film festivals would help raise awareness among environmentally conscious viewers and policymakers, “aiming for simplicity of style, clarity of language, and brevity” (Rosenthal & Eckhardt, 2015). As well as breaking into the less aware audiences, through pre-movie adverts at cinemas. If we partnered up with the classic cinema or even tried for bigger ones like Hoyts and got our short played at the start of the movie, people who wouldn’t really watch something of this nature on their own accord are likely to see it.

Collaborating with Jess, Maddie, and Alice throughout the semester was overall a smooth experience. One of the key strengths of our collaboration was our shared passion for environmental issues, which kept us motivated and focused. We divided tasks based on our strengths and interests, which streamlined the production process. For instance, Jess excelled in editing and audio, Maddie in research and the trash montage, Alice in making the poster, and I in cinematography, interviewing, and archival footage. I also tried to help out with editing as much as possible by providing feedback to Maddie and Jess and attending all of our out-of-hours editing meetings. I also did a few reshoots and recorded extra audio to further help them create the documentary to be something we are proud of.

One thing I would develop further is our pre-production planning. More thorough planning would have helped us anticipate and mitigate some of the technical challenges we encountered, particularly with audio and the footage of the interview needing a lot of cutaways. Additionally, establishing clear roles and responsibilities early on could have improved our efficiency and reduced stress during the production phase. However overall I think our communication and effort was great. 

In conclusion, this project has been an invaluable learning experience, deepening my understanding of impact documentary filmmaking and the collaborative process. Moving forward, I am excited to apply these insights to future projects.

References:

Australian Broadcasting Corporation. (2023, January 5). *Victoria beach bay water quality affected by Melbourne floods*. ABC News. https://www.abc.net.au/news/2023-01-05/victoria-beach-bay-water-quality-epa-melbourne-floods/101826148 

Center for Media & Social Impact. (2010). *Honest truths: Documentary filmmakers on ethical challenges in their work*. https://archive.cmsimpact.org/sites/default/files/Honest_Truths_–_Documentary_Filmmakers_on_Ethical_Challenges_in_Their_Work.pdf 

CMS Impact. (2010). *Honest truths: Documentary filmmaking in the 21st century*. https://cmsimpact.org 

Doc Society. (n.d.). *Impact field guide & toolkit*. https://docsociety.org 

Leeson, C. (Director). (2016). *A plastic ocean* [Film]. Plastic Oceans Foundation.

Orlowski, J. (Director). (2017). *Chasing coral* [Film]. Exposure Labs.

Rosenthal, A., & Eckhardt, N. (2015). *Writing, directing, and producing documentary films and digital videos*. Southern Illinois University Press.

State of the Bays Victoria. (n.d.). *How bays work*.

In reflecting on two impactful documentaries and the techniques they employ, I have chosen “Chasing Coral” directed by Jeff Orlowski and “A Plastic Ocean” directed by Craig Leeson. These films utilise different approaches, modes, and devices to convey their messages effectively and engage audiences in critical discourse.

“Chasing Coral” is a visually stunning documentary that explores the devastating effects of climate change on coral reefs around the world. Orlowski employs a mix of breathtaking underwater cinematography, time-lapse photography, and scientific data visualisation to document the rapid decline of coral reefs due to warming ocean temperatures. One of the most striking techniques used in the film is the time-lapse sequences, which vividly illustrates the process of coral bleaching and death over time (Orlowski, 2017). This approach not only highlights the urgency of the climate crisis but also serves as a powerful visual metaphor for the fragility of marine ecosystems. When thinking of our documentary the underwater scenes in this film are something we will draw upon within “Rewilding Our Oceans”.

Similarly, “A Plastic Ocean” takes a comprehensive approach to addressing the global problem of plastic pollution in the oceans. Leeson blends investigative journalism, expert interviews, and stunning aerial footage to expose the scale and impact of plastic waste on marine life and human health. One of the most impactful scenes in the film is the exploration of a remote island in the Pacific Ocean, where plastic debris covers the beaches and threatens the survival of wildlife (Leeson, 2016). This approach provides viewers with a visceral understanding of the consequences of plastic pollution and underscores the need for urgent action to address the problem.

These documentaries align with the principles outlined in the Doc Society’s Impact Field Guide, which emphasises the power of documentary storytelling to drive social change. Both “Chasing Coral” and “A Plastic Ocean” utilise storytelling devices such as personal narratives, scientific evidence, and captivating visuals to engage audiences and prompt them to take action on pressing environmental issues.

While both “Chasing Coral” and “A Plastic Ocean” primarily utilise the expository style to convey factual information about pressing environmental issues, they also incorporate elements of other documentary styles to enhance their storytelling. In “Chasing Coral,” observational footage of coral reefs and participatory interviews with coral reef enthusiasts add depth and authenticity to the narrative, providing viewers with a firsthand glimpse into the beauty and fragility of marine ecosystems. Similarly, “A Plastic Ocean” features performative elements as the filmmakers embark on a journey to investigate plastic pollution firsthand, immersing audiences in the urgency of the global plastic crisis.

Drawing inspiration from these documentaries, our own film seeks to strike a balance between the poetic and expository styles, aiming to engage audiences emotionally while also providing them with factual information about environmental challenges. Our film will also hold some observational conventions as well as participatory as we would like to interview both Narayana who is a freediver as well as Ella who owns a sustainable swimwear company. Within these interviews we will not only capture direct chat to cameras but also observational moments where they are just in their natural form doing what they love, e.g: swimming, cleaning the beach on a morning walk, or making swimwear content.

Also by leveraging the power of cinematography and following the suggested steps found in Writing, Directing, and Producing Documentary Films and Videos (1996), (pp 206-220) like how they suggest that “Good documentaries should have some kind of conflict” (p.209) using investigative journalism we will find some either internal character conflict or environmental change conflict information to provide more of a climax and arc to the story. An example of this is providing footage of how people who aren’t so environmentally aware juxtaposed with images of the planet dying.  

Additionally, we are intrigued by the use of time-lapse photography and aerial footage to provide a unique perspective on environmental degradation. According to Writing, Directing, and Producing Documentary Films and Videos (1996), “The camera captures a selective and subjective view of reality, influenced by the filmmaker’s intentions and the editing process” (p. 203) This specific camera angle and editing choice allowing audiences to see the impact of human activities on the natural world from a new angle. We aspire to create a visually stunning and intellectually stimulating experience that prompts viewers to reflect on their relationship with the planet and inspires them to take action for positive change.

As noted in the Impact Field Guide, documentaries have the capacity to create cultural moments and prompt people to engage and act (Doc Society). By harnessing the power of storytelling and visual imagery, we aim to create a film that resonates with audiences on a deep emotional level and inspires meaningful action towards a more sustainable and equitable future. 

Pitch Document:

https://www.canva.com/design/DAGCc_Ty0L0/wfwOAEDiUiHOfxDw-_lW2w/edit?utm_content=DAGCc_Ty0L0&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

Reference list

PART 1: 

I watched The Dreamlife of Georgie Stone, and My Octopus Teacher. Both are different documentaries with one being about the human connection with nature and the other about someone’s journey as a transgender female. While being so different I found evidence in both of these documentaries that the observational mode used throughout. The camera follows Georgie Stone in her everyday life, capturing candid moments and interactions as they unfold naturally, and similarly the camera follows the octopus day in day out as the connection develops between them. Another mode that is found within both is the participatory mode, both Georgie Stone and Craig Foster played a direct role in the production of the films along with narration, interview footage and sharing their own personal experience throughout the film. However one thing different about Stone’s is the heavy use of expository mode. The documentary provides factual information about Georgie Stone’s journey, including her activism, challenges faced as a transgender youth, and her impact on LGBTQ+ rights. This mode is a lot more prominent than in Foster’s film. Foster’s film still provides much needed information around the ocean and the natural world but it’s in a less educational manner and there’s a much more poetic feel to the narration of his work. With Stone’s film you feel the call to action, there’s a very clear cause for the film and the issue at hand is made clear. However with Foster’s the campaign behind the is a lot more separate from the film, when watching you may not even realise that theirs all of these fundraisers and environmental causes backing the film it’s something you may only find out when searching.

 When reading ‘Honest Truths’ something that stuck in my mind when watching Stone’s documentary was the use of archival footage, and the potential ethical risks if any of the footage was tampered with or not real, “one filmmaker, for instance, created archival material to use in her documentary and was asked to take it out by the broadcaster when they found out it wasn’t real”  “Honest Truths” (CMS Impact, 2010) P4-5. Stone would have had to make sure that the way the film was placed together didn’t create misleading information or tamper the raw footage in a way to take away from the truthful nature of a documentary.  Within My Octopus Teacher the ethical implications of the documentary are complicated because of the nature of the film. The tampering with wildlife or overall impact on nature when it comes to the ‘do no harm’ principle could be at stake. And would have definitely been a major area of research and refining when it came to the production of the film so that these ethical laws were not broken. When reading the “Honest Truths” (CMS Impact, 2010) it was mentioned in the text that documentary makers “Believed that their work should not harm the subjects or leave them worse off than before.” P8-9. 

In addition to these modes and ethical issues, it was clear both documentaries also exhibit a profound emotional depth, resonating with audiences on a personal level. While “The Dreamlife of Georgie Stone” sheds light on the struggles and triumphs of a transgender individual, “My Octopus Teacher” invites viewers to contemplate their own relationship with the natural world, ultimately leaving a lasting impact long after the credits roll.   

PART 2:

Synopsis: 

“Rewilding Our Oceans as a Freediver” is an impact documentary journeying through the coastal city of Port Phillip, exploring the urgent need for ocean conservation. Through my lens as a freediver, in collaboration with the City of Port Phillip Council, the film uncovers the intricate workings of bays and the dire consequences of pollution, notably sediment and nutrient loads from stormwater and treatment plants, on marine ecosystems.

Drawing inspiration from environmental campaigns like Sea Shepherd Conservation Society and Greenpeace, the documentary intimately follows my lens on the beautiful ocean we have just at our front doorstep and how overlooked this ecosystem has become. Not only will this film open your eyes to the importance of human connection within the ocean it will also educate you on our oceans ecosystems, and how to better protect our creatures and coral, featuring interviews from influential campaigns within our local community , “Rewilding Our Oceans as a Freediver” serves as a call to action, urging individuals worldwide to join hands in safeguarding our precious marine environments for generations to come. 

Impact Overview

“Rewilding Our Oceans as a Freediver” serves as a powerful call to action in the realm of ocean conservation, resonating with audiences Australia wide while specifically targeting the community of Port Phillip and ocean wary individuals. The documentary draws upon expertise from student marine biologists, environmental scientists, and local advocates within our community to underscore the urgent need for preservation efforts.

Existing campaigns such as Sea Shepherd Conservation Society and Greenpeace provide inspiration and a framework for collective action, emphasising the importance of community engagement in safeguarding marine ecosystems.  The film not only hopes to educate viewers on the intricacies of ocean ecosystems but also fosters a deeper understanding of our connection to the sea.

The primary audience comprises residents of Port Phillip and people with a passion for the ocean, aiming to instil local pride and stewardship for the marine environment. By raising awareness and inspiring activism, the documentary aims to create a push for action and protection of our beautiful oceans. And teach us how to enjoy them in a harmless and less impactful way.  

The desired change is a tangible shift in attitudes and behaviours, leading to increased engagement and advocacy for marine conservation. Ultimately, “Rewilding Our Oceans as a Freediver” aims to cultivate a sense of responsibility and empowerment, urging individuals to sign petitions, joining activist groups such as Sea Shepherd and donate towards causes that are centred around ocean conservation. 

Bibliography: 

The dreamlife of georgie stone (2022) IMDb. Available at: https://www.imdb.com/title/tt16426596/ (Accessed: 22 March 2024).

Home (2024) Sea Shepherd Conservation Society. Available at: https://seashepherd.org/ (Accessed: 22 March 2024).

Honest truths: Documentary filmmakers on Ethical Challenges in their work (2019) Center for Media and Social Impact. Available at: https://cmsimpact.org/resource/honest-truths-documentary-filmmakers-on-ethical-challenges-in-their-work/ (Accessed: 22 March 2024).

My octopus teacher (2020) IMDb. Available at: https://www.imdb.com/title/tt12888462/ (Accessed: 22 March 2024).

Nichols, B. (2017) Introduction to documentary. Bloomington, IN: Indiana University Press.

AUTOMATIC FOR THE PEOPLE

Project Toblerone

This group’s final work of a Super bowl style ad was super humours and carried many interesting elements of AI throughout the video. The theme of the commercial was clever, having it set in Ancient Egypt due to the shape of the Toblerone, with this science fiction tone to the whole story. The use of the voice overs and the way that they made the mouths of the characters move just showed the level of effort the group went to when creating it. The only thing I would have maybe changed is the music. It wasn’t super catchy and it lacked that jingle that most successful Super Bowl ads have, other than that I really enjoyed this work.  

We Are How We Live

This audio diary entry piece was a standout to me, the way that all the music was AI generated blew my mind. Within episode 4 of the diary entries the music becomes the main element and I feel myself become immersed into this audio world. The way it was broken up into sections and the story followed through them was so clever. I loved the voice overs as well, spoken so clearly and smoothly. The only thing I wished this piece maybe changed was the length it was a 40 ish minute audio piece and due to the exhibition time and layout I don’t think anyone got to finish all the episodes which was disappointing, however for a session time gallery exhibition this would have worked nicely.  

OTHER STUDIO

USES OF PHOTOGRAPHY

What is a photograph now? This was the overarching question the students were exploring within this studio. Over the 12 weeks they explored some of the diverse uses to which photographs are put by both professional and non-professional image-makers. And how they can expand literacy around a still image. 

Within Jinli Axtens MELBOURNE’S PALETTE it was clear that Jinlin was exploring the natural landscape of melbourne and the colours found in everyday life. This photography collection made me feel excited as I got to identify all these places in Melbourne I had been before. It almost felt nostalgic, evoking memories and stories in my mind. The way that there were three images all containing the same colour was a very clever way to compare the similarities of that colour in Melbourne as well as bring to the forefront Melbourne’s rich natural beauty. 

What’s In Her Bag? By Saskia Christensen explored the ideas within the studio via an exploration into what people carry in their handbags, such a universal item that most people have with them everyday. It had witty little comments beside each item and showed a diverse range of what people carry around with them everyday. It made me reflect on my own bag and wonder what my pile of things would look like. It was such a simple idea but executed so well and the layout of the images was amazingly clever. 

Vlog Reflection:

https://youtu.be/BD4hM-AjEpk

Screen Trapped Short Film:

https://youtu.be/yah5dLErpy4

Week 4 Blog Post

Blog Post 5 Automatic For the People

Blog Post 6 Automatic For The People

https://drive.google.com/drive/folders/1uL4j-5g3VEYq9QQ9_NZe2tYkKZjOOyWn?ths=true

Re-write for sketch

In the enigmatic fourth dimension, alien observers, named Quad-Lums, short for Quadra Luminaries, keenly focus on Earth’s intricacies. To them, humans are pieces in a cosmic puzzle, dissected and analysed.  The Quad-Lums place calculated bets on human actions, from grand conflicts to personal choices. These bets determine their status and power.

However a glitch in the system causes chaos and confusion amongst the Quad-Lums. This disaster not only affects the fourth dimension, but it also affects surrounding planets, including earth.

Reflection 

The Anatomy Lesson of Dr. Algorithm

My chosen artwork is ‘Anatomy Lesson of Dr. Algorithm’ 

This is a really interesting artwork made with AI showing a dataset of about 60,000 images of human surgical dissections, and letting a machine create its own imaginations of it. I chose this one because it is the human form mixed with AI and some people would think these are competing topics however I loved to see the ways in which AI digested the human body. 

My group this week decided to play on this idea of a 4th dimensional world where aliens look at humans the way we humans look at ‘inferior’ species. I think my group worked really well to explore crazy ideas. We all pumped thousands of prompts into the generator and were able to get enough footage to piece together a short. We did however run out of time to make the short all together so next time I think we will just need to cut down our practice time slightly. 

I enjoyed this week’s reading discussing the concept of “hyperproduction,” this idea around increasing the use of deep generative models in various industries and cultural contexts. I had previously thought about virtual influences and the impacts that may come along with these types of things so reading about Lil Miquela, and these sim2real and real2sim ideas made for a better understanding. A quote that stood out to me was “The penetration of cultural life with deep generative models is neither a temporary nor a coincidental phenomenon. We witness a transformation of the nature of platformized cultural production.” this quote roots back into the discussion we were having earlier on in class and it was interesting to revisit this idea later on in the term where my opinions have shifted more and I have a much wider understanding of AI.

Reference list

Chu M (2022) 17 Best AI Art Pieces: Mind-Blowing Artwork & Artists, hanginginvestments.com, https://hanginginvestments.com/best-ai-art/#google_vignette, accessed 1 September 2023.

drone.tv (n.d.) The Anatomy Lesson of Dr. Algorithm | harshit, https://harshitagrawal.com/works/the-anatomy-lesson-of-dr-algorithm, accessed 1 September 2023.

Ferrari F and McKelvey F (2022) ‘Hyperproduction: a social theory of deep generative models’, Distinktion: Journal of Social Theory1–23, doi:https://doi.org/10.1080/1600910x.2022.2137546.

Concept:

• Sam’s bearded dragon, Little Brother, has been scratching at the glass of his enclosure. His family are worried about LB because they aren’t sure of what is causing his stress.
• We are wanting to make an action packed short film that follows the adventure of a runaway bearded dragon. LB is experiencing a range of teen emotions and is in search to find some like-minded creatures.
• LB does not speak because this is a real action film, but we want to experiment with AI tools to create a “voice” that will play as his inner monologue 

Prompt:

• Write a synopsis for a short film about a bearded dragon that is experiencing puberty and a rollercoaster of emotions. Ultimately he wants to find other dragons that he can relate with, but to do that, he needs to escape from his owner’s home. The family love him so much and go on a big hunt to find him. The hunt lasts for 4 days and they get very close to finding him, however something always gets in the way

GPT Synopsis:

‘Meet LB, a bearded dragon undergoing puberty, which triggers a wild ride of emotions. Yearning for connection with his own kind, LB plots an escape from his loving family. His goal: to find fellow dragons who understand him.

LB’s family soon notices his absence and launches a four-day search, filled with comical mishaps. Despite being close to finding LB, fate continually intervenes. Meanwhile, LB faces challenges and discovers unexpected allies in the outside world.

As the family and LB’s paths converge, LB learns that his longing for connection is mirrored by his family’s love. The tale explores adolescence, family bonds, and self-discovery, reminding us that true connections might be closer than we think.’

Score:

Chosen Artowork:

https://www.youtube.com/watch?v=sc9OjL6Mjqo

“For the past two years, we have been building an ensemble in Berlin.

One member is a nascent machine intelligence we have named Spawn. She is being raised by listening to and learning from her parents, and those people close to us who come through our home or participate at our performances.

Spawn can already do quite a few wonderful things. ‘Godmother’ was generated from her listening to the artworks of her godmother Jlin, and attempting to reimagine them in her mother’s voice.

This piece of music was generated from silence with no samples, edits, or overdubs, and trained with the guidance of Spawn’s godfather Jules LaPlace.”

I chose this artwork because it had a huge sound element to it and i felt it was inspiring due to our focus for the week being around sound design.

Embarking on a journey through Eleven Labs to explore AI voice generation was a fascinating experience that resonated with Simon Willison’s insights in his “Catching up on the weird world of LLMs” talk at North Bay Python 2023. Just as he highlighted the diverse and quirky behaviour of LLMs, our class dove into the intriguing realm of AI-generated voices. I first played around with the Blip outers script but I thought it would be interesting to feed the AI some of my favourite childhood Dr Seuss stories.  

Our interactions with Eleven Labs revealed a spectrum of responses. Sometimes the text couldn’t be properly spoken or sounded erratic depending on the settings we plugged into it, I liked to play around with accents and long words to see how it would interpret.

Eleven labs was only part of what we did in this class, we also looked at recording our natural voices on our phones, reading the script we created earlier on ChatGPT, we then put this recording into Reduct and got it to transcribe the recording. This process was funny. My group played around with making the script as natural as possible and as a result we found ourselves doing a lot of improvisation. 

(ChatGPT Version)

Embarking on an odyssey through Eleven Labs to delve into the realm of AI voice generation proved to be a profoundly captivating experience that harmoniously echoed the insights shared by Simon Willison during his discourse, “Catching up on the weird world of LLMs,” at the distinguished North Bay Python event in 2023. Much like Willison’s elucidation of the nuanced and idiosyncratic behaviors of Large Language Models (LLMs), our academic cohort wholeheartedly embraced the enigmatic domain of AI-generated vocalizations.

Initially, I engaged with the Blip outers script, but the allure of further experimentation beckoned, prompting me to imbue the AI with cherished childhood tales by Dr. Seuss—an endeavor that promised a distinctive creative encounter.

Within the framework of Eleven Labs, our engagements unveiled an expansive spectrum of responses. Occasional phonetic dissonance and fluctuating coherency arose, influenced by the intricate amalgamation of parameters we invoked. Intriguingly, my fascination propelled me to manipulate accents and lexicon complexity, thereby unraveling the AI’s intricate interpretation process.

The Eleven Labs dimension, while pivotal, merely constituted a segment of our pedagogical voyage. We ventured further by capturing our organic vocal cadences through mobile devices, reciting scripts authored earlier via ChatGPT. Subsequently, immersing the recordings within Reduct’s purview, we navigated the whimsical tapestry of transcriptions—an endeavor that induced hearty amusement.

Particularly within my collaborative group, an affinity for authenticity galvanized us to cultivate a narrative that mirrored natural discourse. This pursuit not only engendered spontaneous improvisations but also kindled a mosaic of comical moments, rendering the learning process both insightful and enjoyable.

Week 4 Sketch