I thoroughly enjoyed watching “INC.” by the team of Amy, Adrian, Ben, and Daniel. This short film captures the essence of a typical office scenario while cleverly intertwining it with the contemporary workforce’s dynamics, particularly in light of the recent surge in AI and its applications. One particular aspect that immediately struck out to me was the opening sequence, where we see a man genuinely relishing his work life. This initial mood-setting scene contrasts brilliantly with what follows after the title cut, where the same shots take on a more serious and somewhat ominous tone. This stylistic choice significantly enhances the portrayal of the stark disparity between the past and present realities, particularly in the context of the impact of AI revolution. What impressed me even more was the team’s adept use of AI generative content, a concept we’ve explored in our studio. They seamlessly and practically integrated AI generative elements into the film, a task that can be quite challenging without making it glaringly obvious as an AI creation. This thoughtful incorporation added depth to the film’s narrative, making it intellectually engaging, while also in touch with our studio prompt. The use of sound throughout the film was another standout feature for me. Whether it was the ambient sounds, the evocative background music, or the sound effects of the printer, they collectively contributed to creating a vibrant office environment. Simultaneously, these audio elements conveyed a subtle undercurrent of tension and apprehension, symbolising the prevailing job security fears and concerns. Overall, “INC.” is a compelling short film with an intriguing concept. It’s evident that the film’s initial concept appears challenging to execute, but the team successfully brought their vision to life.

“Greed,” brought to life by Joe, Jacklyn, Minna, and Yuyao, is a close second in my opinion. The short film’s aesthetics exude an intriguing blend of crime, mystery, and science fiction elements, with the narrative revolving around Lena, a seller and streamer who stumbles upon a mysterious wishing bowl. I do like the gradual evolution of Lena’s morality and the escalating effects of her greed. The progression of her character’s emotions reminded me of the show “The Walking Dead,” renowned for its exceptional character development in crisis situations. In “Greed,” the team successfully achieved a similar effect, making Lena’s transformation captivating to watch. One other aspect that particularly impressed me was the production design. I found the shots of Lena’s live stream on her phone screen to be dynamically engaging. These shots added an extra layer of authenticity to the narrative, enhancing the viewer’s immersion in the story. The final shot of the film was clever. It revealed the wishing paper being flipped upside down, revealing the word “toxicity.” This revelation was impactful and skillfully executed, adhering to the “show, don’t tell” principle. However, I believe it could have been even more powerful with some refinements in the sound effects and a smoother transition in the preceding shot to maximize its impact. Overall, “Greed” is an enjoyable short film with a meaningful “life lesson” message. It offers a compelling narrative with well-developed characters and a thought-provoking exploration of human nature and the consequences of unchecked greed.

“keep going.” by Miller Marks-Boulton, a creation from the “Film Form” studio, truly stands out among the others for me. This short video work adeptly conveys the experience of individuals with ADHD or any condition that leads to sensory overload. It skillfully portrays the chaos, jumbled thoughts, and overlapping voices that overwhelm the protagonist, and in doing so, it effectively conveys a sense of stress and disorientation him and so to the viewer. The story offers a glimpse, into the challenges these individuals face in navigating through life, even with seemingly simple tasks that most take for granted. It provides an insight into the daily struggles of those with these disorders, shedding light on how arduous life can be for them. What I appreciated was the touch of humor in the film, which made the subject matter more approachable. It strikes a balance that allows the piece to be both sympathetic and engaging, not burdening the viewer with the weight of the topic. From a technical perspective, “keep going.” shines in various aspects, including editing, camerawork, and sound design. The effort put into capturing and reflecting the symptoms and reactions is evident. The use of forgetfulness, bizarre jump cuts, and the protagonist’s teleportation effectively mirrors the disjointed nature of his thoughts and experiences, portraying a sense that his mind is not entirely his own. In summary, “keep going.” is a compelling piece that skillfully delves into the challenges faced by individuals with sensory overload disorders. It blends humor with empathy and showcases technical prowess in capturing and conveying the struggles of its protagonist. Watching this film was a genuinely enjoyable and informative experience.

“Pointing Flower” by Mustafa from the studio also caught my attention, especially as I noticed some thematic similarities to my own group’s work. It explores the themes of split identities and self-love, but with a unique perspective. What stood out was how the protagonist is not only aware of their own issues but actively strives to “embody the best version” of themselves. This added depth to the narrative, making it all the more intriguing. The use of music in the film was a key element that contributed to its overall impact. The choice of music gave the video a lighter, more whimsical mood, and the texture of the music, reminiscent of medieval or evoking a journey to “The Shire,” added a distinct and enjoyable dimension to the viewing experience. The quality of the shots, their construction, and the lighting all demonstrated a high standard of craftsmanship. These technical aspects were well-executed, contributing to the overall visual appeal and effectiveness of the film. It was an enjoyable watch, and I appreciated the attention to detail in both its narrative and production aspects.

Reflection:

• A) Firstly, write 500 words (approximately) describing what you gained from the studio and answer these two questions:

• In what ways do you hope your final work (whether individual or group-produced) engages its audience and communicates a key concern of the studio?

 Our short film is an exploration of the complex impact of technology and artificial intelligence on human mental health, interpersonal relationships, and self-perception. It seeks to invite the audience to reflect on the evolving dynamics of our digital age.

 At the heart of our story is Rose, a character grappling with multiple personality disorders. We posit that one of the contributing factors to her condition is the pervasive influence of social media and the rising prevalence of synthetic media in our lives. These elements are eroding the authenticity of human connections. We are aware of pressing issues such as deep fakes, false information, and fake news, which are the harsh realities of the advancing AI and technology landscape.

 However, our storytelling approach is to convey a more uplifting narrative. In contrast to dwelling solely on the negative consequences of technology, we choose to focus on a simple yet beautiful love story between two ordinary individuals navigating a world rapidly adapting to technology. As Rose emerges from the remnants of a shattered heart and a broken relationship, she embarks on a personal journey to rediscover herself.

 Through this heartwarming tale, we aim to deliver a message that encourages our audience to question and broaden their perspectives. Is synthetic media the root of the problem? Is it AI itself? Or is it our individual actions and reactions that ultimately cause the issues we face in this digital age? Our film suggests that perhaps the problem lies more on a personal level than we might initially realise.

• Imagine you are going to keep working on that media piece (e.g., to screen it somewhere else, like a festival, or develop it into a different kind of work, and so on). What would be the core things you want to improve and extend, and why?

 To strengthen the presence of synthetic media in our narrative, we can dive deeper into the AI and technological aspects of the world we’ve crafted. Rather than merely addressing these themes theoretically and conceptually, we can integrate them more deeply and organically into the story’s setting. This might involve a more extensive exploration of futuristic world-building, showcasing advanced technologies, and portraying the lifestyle influenced by these innovations. We can particularly delve into the role of social media, which plays a central part in Rose’s struggles and mental health issues, illustrating how it has become an integral part of her life. By delving into these details, we can create a more authentic and immersive backstory for our film.

 On the technical front, we initially set out to film our project in LOG to attain a higher level of quality in our footage. By leveraging the dynamic range of the LOG footage, we aimed to enhance colour, contrast, and overall image quality, resulting in sharper, clearer, and more vibrant visuals. Due to equipment limitations, we made the decision to increase the shutter speed to compensate for exposure, which allowed us to continue filming in LOG. However, during the editing process, it became evident that the frame rate of the different footage was inconsistent, leading to varying motion blur details in the final cut. If given the opportunity to improve this project or any future projects, we would pay closer attention to maintaining a consistent frame rate to ensure smoother and more visually coherent sequences.

 Furthermore, I want to emphasise the critical importance of audio quality in our project. While editing, I noticed that the audio suffered from noise pollution, primarily due to my handling of the microphone. This issue stemmed from my relative inexperience with this specific sound recording equipment, as I underestimated its sensitivity. Additionally, the choice of an empty room as our recording environment resulted in a boomy and echoey sound quality. These were clear oversights on my part, and I acknowledge that with more practice and attention to detail, these issues can be easily rectified. To me, it’s the meticulous consideration of factors like the right settings and the use of appropriate equipment; these little details are what make a difference in exceptional work.

• B) Then, write 800 words (minimum) of the following:

• You will present all that you’ve worked on since Week 8: your pre-production, experiments, images, clips, scenes, and tests.

• This could include the draft edits, sound mixes, and colour grades—and, of course, the reflections associated with them.

• More scene deconstruction and analysis are most welcome.

 Pre-Production:

Given my particular interest in the production and post-production phases, I took on a role that involved assisting with various pre-production tasks as needed. Beyond providing input to shape the storyline with a simple love story, our pre-production phase proceeded remarkably smoothly, without any significant hiccups. The team displayed exceptional competence in planning and scheduling, and I was particularly impressed by the detailed nature of these preparations. This level of detail far exceeded my previous project experiences, reflecting a level of professionalism and commitment.

In addition to my group contributions, I embarked on an extensive research journey to gain a deeper understanding of audio equipment. This research was motivated by my decision to invest in high-quality equipment for our shoot, recognising the long-term benefits this would offer in my role now as well as any future projects. I sought valuable advice from Cat, which not only expanded my knowledge but also allowed me to experiment with more advanced technology, all with the overarching goal of achieving exceptional audio quality. In the process, I acquired a somewhat beginner skill to operate an intricate recording setup in conjunction with a broadcast shotgun microphone and its associated components.

Moreover, I took on the responsibility of organising and managing supplementary equipment, including lighting setups, stands, boom microphone poles, and reflectors. Through this experience, I learned that achieving a smooth and productive shooting day demands meticulous attention to detail and effective micro-management of various elements. This level of commitment and oversight is crucial when aiming for the highest possible project outcome.

Production:

On the first shooting day, I assumed the role of the main camera operator for our team, concurrently providing Mark with guidance on operating the audio equipment effectively. During a crucial scene depicting the breakup between our characters, I proposed the use of a shipwreck element, which serendipitously presented itself on location. This shipwreck served as a symbolic representation of the characters’ shattered relationship. Notably, the shot capturing Rose and Dylan standing with poignant gazes at each other was artfully framed to include the shipwreck in the background, lending depth and allegorical significance to the narrative.

I also took the initiative to make sure we recorded foley and ambient sounds both at the beach and in the city, ensuring we have a diverse range of audio assets available during the post-production phase. Although our day proceeded according to schedule, or even ahead of it, a notable challenge we encountered was the inability to capture the desired lighting conditions of the blue hour and golden hour, as initially intended. This constraint was due to timing considerations, underscoring the importance of thorough planning for future shoots.

On the subsequent shooting day, I took on the role of operating the microphone. It was during this role that I discovered the microphone’s high sensitivity, particularly in picking up handling noise. Unfortunately, we lacked the requisite shock mount to mitigate this issue. Consequently, I adapted by implementing techniques to minimise handling noise as much as possible, including maintaining a steady hand and positioning the microphone strategically within my reach to avoid inadvertent contact. Another noteworthy aspect to consider is the acoustic characteristics of the room we used, which resulted in an echoey sound quality. It’s important to acknowledge that the nature of the microphone I was working with might have been better suited for outdoor use. Recognising this issue, I contemplated a solution involving the placement of objects and items within the room to dampen the sound and prevent it from bouncing off the walls and reaching the microphone. However, given the constraints of time and our commitment to the shooting schedule, I opted not to address this issue, as it might have led to delays. This invaluable experience has equipped me with insights into optimising technical aspects and better preparedness for future shoots.

At the end of the day, I took charge of returning the borrowed equipment to RMIT, ensuring its safe and timely return as part of our commitment to professional responsibility.

Post-Production:

In the post-production phase, my primary responsibilities revolved around the creation and editing of visual effects (VFX) shots for our film, as well as audio synchronisation and partial audio design. While working on editing the VFX shots, a key lesson I gleaned during the process was the paramount importance of adhering to the fundamental principle frequently emphasised in tutorials: “shoot for edit.”

One of the notable challenges I encountered involved creating VFX shots that depicted Rose and her various personalities sharing the same physical space and engaging in dialogue. To achieve this effect, our group devised a technique involving quick panning within the shots. While this method added a dynamic element to the visual narrative, it also introduced a substantial editing challenge. The panning speed and dimensional movement in the footage did not align precisely, which made it considerably challenging to seamlessly merge two distinct pieces of footage into a single, cohesive composition.

This experience highlighted the significance of fine planning and execution during the shooting phase. It further emphasises the importance of achieving consistency in camera movement and angles to facilitate smoother and more convincing VFX integration in the post-production stage. The realisation of this principle has undoubtedly enriched my understanding of the filmmaking process and will inform our approach to future projects.

Experiment:

Intro with Audio

• At least 300 of the above 800 words must be on collaboration (over the whole semester). Working individually is just as valid a thing to write about as group work. Appraise how you went with it this semester—its pitfalls and upsides (discuss group work done during weekly activities).

Collaboration:

As I reflect on my work and the collaborative process that unfolded over the semester, I find a sense of contentment with my personal contributions and my individual creative journey. However, it is crucial to acknowledge that the dynamics within our team posed certain challenges that, in turn, offered valuable insights into the world of collaboration. The team’s diverse perspectives and skills significantly enriched our brainstorming sessions, fostering the development of a more well-rounded concept and storyline. The group dynamic was undoubtedly an upside, as it allowed us to draw from a wide range of creative ideas, leading to a more comprehensive exploration of the theme and being central to the evolution of our project.

Nevertheless, group work was not without its challenges. Differing opinions and creative conflicts occasionally emerged, making it a complex endeavour to reach a consensus without anyone feeling that their creative vision was disregarded. Effective communication and compromise were required to resolve Learning to navigate these conflicts was instructive, ultimately strengthening our teamwork and conflict resolution skills. Navigating these creative conflicts proved to be a rich learning experience in the realm of collaborative work. It underscored the importance of constructive teamwork and the necessity of compromise when personal preferences diverge. These challenges also provided a crucial lesson in striking a balance between advocating for one’s artistic ideas and being receptive to those of others.

As we look forward to future projects, there are a couple of aspects that I would approach differently. Firstly, I would place a higher emphasis on establishing more concrete agreements with the team in terms of roles, commitment, and responsibilities. This would help streamline our workflow and ensure everyone is on the same page. Secondly, I would assert my artistic preferences more assertively, particularly in moments of creative pressure. While I value collaboration and compromise, I also recognise the importance of preserving one’s artistic vision.

In conclusion, our collaborative experience, despite its challenges, has proven to be a valuable and enriching journey. These experiences have underscored the importance of effective teamwork, communication, and compromise, which will undoubtedly serve as a strong foundation for future projects. The key takeaway is that a well-balanced approach is essential. Group work fosters creativity and diverse perspectives, while individual tasks demand self-reliance and precision. The semester taught us that collaboration, whether on an individual or group level, is vital for successful project development. The experience improved our communication, teamwork, and conflict resolution skills, equipping us with valuable lessons to apply to future projects.

• C) Write one reflection on, or response to, the content of the presentation in Week 9 by student work other than your own (minimum 500 words).

The presentation for “The Omniverse” from Chole, Jacquelyn, and Owen offers an intriguing glimpse into what promises to be a captivating and thought-provoking short film. The concept revolves around two individuals, each at different points in their lives and emotional states, who are thrust into the Omniverse, a parallel universe. Their mission was to construct a time machine that could rescue their own universe from the brink of existence. It’s a narrative setup reminiscent of science fiction classics like “Blade Runner 2049” and the multiverse exploration found in “Into the Spider-Verse,” promising a blend of thrilling sci-fi elements and a deep exploration of human emotion.

One of the most compelling aspects of this project is the focus on growth and the process of overcoming trauma. It’s an emotionally resonant theme that has the potential to strike a chord with audiences. The contrast between the two main characters, one who has lost hope and the other just beginning their journey, sets the stage for a powerful narrative arc. This exploration of emotional and psychological transformation within the context of a sci-fi thriller promises to make “The Omniverse” a unique and engaging experience.

The team’s choice of inspiration, including “Everything Everywhere All at Once” and the concept of the multiverse, underscores the depth and complexity of the story they aim to tell. These references point to a narrative that explores different views of time and space, delving into the concept of modal realism and the existence of multiple possible worlds. Such intellectual and philosophical underpinnings in a short film are a testament to the team’s ambition and desire to create a thought-provoking piece of work.

The attention to cinematography is also noteworthy. The team’s decision to use basic shooting angles, dynamic lenses, close-ups, and the widescreen 16:9 aspect ratio reflects a commitment to creating a visually striking and immersive experience. These choices suggest that the team is not only focused on the narrative but also on the visual and sensory aspects of the film, which can be pivotal in drawing audiences into the story.

Furthermore, in the technical realm, the team has thoughtfully considered all aspects of filmmaking, including all aspects of production. The decision to employ green screen technology and professional cameras is a strategic choice that can significantly enhance the visual and technical quality of the film. Green screen technology enables the team to create visually stunning and immersive environments, transporting the audience to different worlds within the Omniverse. Coupled with the use of professional cameras, this choice ensures that the visual fidelity and production values of the film will be of the highest standard.

However, what truly stands out in the post-production phase is the team’s innovative approach. By implementing AI-generated programmes and deep-fake technology, they are pushing the boundaries of storytelling and visual effects. This choice aligns with the central theme of the project and serves as the focal point of the studio’s creative direction. The use of AI-generated programmes and deep-fake technology can bring an element of unpredictability and surrealism to storytelling, blurring the lines between reality and fiction. Moreover, the incorporation of AI-generative programmes offers the team the opportunity to experiment with creative and artistic expression, potentially leading to groundbreaking visual effects and narrative techniques. The decision to embrace such cutting-edge technology underscores the team’s desire to challenge traditional filmmaking norms and explore new horizons in the art of storytelling.

In essence, “The Omniverse” appears to be a well-rounded project that takes into account narrative, emotional depth, philosophical exploration, and visual aesthetics. The combination of these elements, coupled with the team’s clear passion and inspiration, holds the promise of a short film that can leave a lasting impact on its viewers. Overall, the presentation demonstrates a comprehensive and thoughtful approach to the various facets of filmmaking, making “The Omniverse” a project to look forward to.

Behind the scene photos

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Reflection:

• What were you trying to achieve in terms of critically communicating about synthetic media and explain the method in which the editing process was used to attempt this?

Building upon the foundation established in Assignment #1, my video work unfolds within a slightly advanced and futuristic reality characterised by, according to Garon (2023:6) ‘intelligent, self-aware machines come to dominate humanity’, cloning incidents have become a possible occurrence. The opening scene centers around a protagonist who is initially oblivious to the fact that he is either a clone or surrounded by clones, drawing inspiration from “The 6th Day (2000)”. As mentioned before, I’ve also introduced an angle whereby the protagonist grapples with potential mental health challenges, leading to a narrative where his paranoid episodes blur the lines between reality and hallucination. In a way, this also thinning the boundary between real and synthetic content. The overarching narrative aspiration was to raise awareness about the ethical dilemmas and potential dangers associated with artificially generated content.

The 6th Day (2000)

The opening scene employs a “fake out”, presenting a man seemingly enjoying a pizza alone. However, a subsequent revelation discloses the presence of three identical men or clones at the table. This narrative twist serves to underscore the hazards posed by cloning technology. Furthermore, I aimed to draw parallels between cloning and AI technologies in our reality, highlighting the potential negative consequences arising from the misuse of AI. Synthetic media encompasses various forms of computer-generated content, such as deepfake videos, AI-generated images, and text. The danger lies in their remarkably convincing and lifelike nature, blurring the boundary between authentic and synthetic content. This blurring, in turn, can lead to issues of trust, misinformation, and manipulation (Matteo 2020). With the accessibility of AI and deepfake tools, individuals can be coerced into spreading false information, thereby distorting public opinion and influencing sectors like journalism, entertainment, and politics (Gregory 2018). A significant concern is the violation of privacy rights when synthetic media employs individuals’ likenesses without consent, triggering debates about control over one’s digital identity.

Navigating the editing process for the opening sequence, I opted against utilising AI-generated applications. Based on prior experiences and experimentation with Stable Diffusion, it became apparent that AI-generated content, despite its advancements, tends to possess distinct visual traits that do not seamlessly meld with live-action footage, even in cases of highly photorealistic renderings. Consequently, the quest for authenticity in the narrative compelled me to forgo direct incorporation of AI-generated content. I acknowledged the potential for future incorporation of AI-generated elements, but currently, I believe such content aligns more naturally with animated contexts, rather than achieving seamless cohesion with real-world footage

• How did your preproduction/production/post production process go and what would you do differently/improve next time?

Pre-Production:

During the pre-production phase of this project, I deliberately pursued a straightforward approach. My intention was to craft a story that, while simple, would be inherently compelling due to its attention to detail. To challenge myself, I aimed to create a scene that was both visually engaging and rich in its execution. This led me to initially consider a straightforward narrative approach, emphasising the power of visual storytelling. As part of my research, I delved into the art of composing an impactful eating or dinner scene. Drawing inspiration from various film references, I meticulously designed my shots to align with the nuances of these references. By studying successful scenes in films, I gained insights into camera angles, lighting, framing, and the pacing necessary to infuse the dining experience with an evocative and immersive quality.

The Whale (2023)

Matilda (1996)

Marie Antoinette (2006)

Furthermore, a significant factor that influenced my creative choices was the absence of a decent audio equipment for recording dialogue. While this could be viewed as a limitation, I found it to be an opportunity. This limitation encouraged me to embrace the principle of “show, don’t tell.” In other words, I recognized that I could leverage the visual medium to its fullest extent, relying on expressions, gestures, and environmental cues to convey emotions, relationships, and narrative progression. This choice not only aligns with my circumstances but also aligns with a storytelling technique that I am personally drawn to as a fan of narratives that allow the visuals to speak for themselves.

Shot List Link

Production:

On the day of filming, my preparations were meticulous, aimed at crafting a cinematic dinner table setting and strategically positioning the camera angles to harness the nice lighting of the golden hours. The aspiration was to infuse the shots with the warm and captivating ambiance characteristic of this golden hour light. However, despite the careful planning and hours dedicated to tinkering with the setup, a critical oversight surfaced just as the golden hours approached—an essential element, the pizza, was missing. This oversight, which served as the centerpiece of the scene, dealt a significant blow to the laid plans, ultimately leading to the unfortunate decision to postpone the shoot. In retrospect, this incident served as a lesson that underscored the importance of thorough and comprehensive planning in filmmaking. The oversight of neglecting to order the pivotal prop—pizza, in this case—not only disrupted the shoot but also eroded the potential for capturing the desired natural lighting. The incident highlighted the critical role that pre-production plays in setting the stage for a smooth filming experience. Moving forward, I am determined to enhance my planning process by carefully documenting essential elements such as the shoot location, timing considerations, and, notably, any significant props for future projects.

Post-Production:

As I gravitate more towards creating visually captivating and authentically immersive scenes, my approach has evolved to minimize the use of distracting or unnecessary visual effects. This shift in focus has led to a streamlined post-production process, significantly reducing its time consumption. Notably, the wide shot featuring clones at the table was strategically planned during the production stage. Employing techniques such as masking and subtle roto-scoping to address the interaction of the talent’s hands, I successfully brought to life the envisioned effect, guided by the insightful suggestions of my studio leader.

Every great scene starts with an establishing shot. To achieve the desired replica aesthetic, I embarked on an interesting approach by capturing the 3D feature of Google Maps in conjunction with Unreal Engine 5. This synergy facilitated the replication of a sweeping drone shot, emulating the visual spectacle akin to a descending drone shot.

Moreover, color grading emerged as a pivotal tool in enhancing the narrative impact of the scene. To establish a cohesive progression, the video work proceed with a deliberate shift in the color palette. Commencing with warm tones, the grading subtly transitions into cooler, more contrasting looks as the story unfolds. This change of color undertones contributes to the nuanced emotional arcs within the scene. Furthermore, the distinction between interior and exterior shots was also graded, thereby heightening the immersive experience.

• Your reflection should also include commentary on what you thought the most and least successful parts of your Film Opening Scene were, and why so? 

For Assignment #2, the narration emerged as one of the most successful components. It adeptly reflected the prevailing AI-generated phenomena within our reality, underscoring potential concerns such as authenticity, trust, misinformation, and privacy. This narrative thread not only heightened awareness but also seamlessly tied the fictional scenario to real-world implications, serving as a thought-provoking cautionary tale.

Furthermore, the deliberate commitment to visual authenticity and the minimization of distracting effects stood out as a crowning achievement. This strategic choice bore fruit by not only streamlining the post-production process but also enriching the scene’s genuineness and immersive quality. Placing authenticity at the forefront aimed to forge a relatable connection with the audience, resulting in a more compelling experience overall. The color grading also played a pivotal role, yielding not only a coherent aesthetic but also functioning as a conduit for eliciting intricate emotional nuances. This multi-dimensional approach added depth and resonance, effectively enhancing the scene’s impact.

On the flip side, the least successful aspect pertains to an oversight that led to the absence of a central prop—the pizza. This mishap underscores the profound significance of comprehensive planning. It serves as a valuable reminder of the need for meticulous attention to detail, irrespective of the apparent significance of each element. Additionally, the absence of high-quality audio equipment posed limitations, compelling the choice to forgo dialogue. Although this aligned with the visual storytelling ethos, it highlights the necessity of addressing audio constraints to elevate the richness of future projects.

References:

Bonfanti M E (2020) The weaponisation of synthetic media: what threat does this pose to national security?, REAL INSTITUTO ELCANO website, accessed 25 August 2023. The weaponisation of synthetic media: what threat does this pose to national security? – Elcano Royal Institute (realinstitutoelcano.org)

Garon J M (2023) ‘A practical introduction to generative AI, Synthetic Media, and the messages found in the latest medium’, SSRN Electronic Journal [Preprint]. doi:10.2139/ssrn.4388437.

Gregory S (2018) ‘Mal-uses of AI-generated Synthetic Media and Deepfakes: Pragmatic Solutions Discovery Convening’ [Summary of discussions and next step recommendations], Witness’ Tech + Advocacy Program, Massachusetts, accessed 25 August 2023. (PDF) Mal-uses of AI-generated Synthetic Media and Deepfakes: Pragmatic Solutions Discovery Convening, June 2018: Summary of Discussions and Next Step Recommendations (researchgate.net)

Production Screenshots:

Blog posts:

Synthetic Video – Blog Post 4

Synthetic Video – Blog Post 5

Synthetic Video – Blog Post 6

In this current week, we’re delving deeper into the realm of AI generative applications, an area that continues to baffle and amaze me. The sheer diversity of websites offering this service is astounding, and it’s astonishing to realize that this concept has rapidly evolved within just a year. What’s striking is the distinct style and appearance of the generated images across these various tools. Each application possesses its unique flair, contributing to the visual diversity of the outputs. It’s intriguing to note that while some of these applications offer a free trial period, many are restricted behind a paywall. This limitation is understandable given the novelty of the technology, but I can’t help but hope for a future where such cutting-edge tools become universally accessible, leading to a standardise use of this remarkable technology.

Beyond the AI exploration, we’ve also delved into the captivating world of color grading in filmmaking. Among the multifaceted processes in video creation, color grading stands out as a truly enthralling endeavor. The manipulation of colors within an image can bestow a distinct aesthetic appeal, transforming videos into cinematic and film-like pieces of art. I’m particularly captivated by the journey of mastering color grading in Davinci, recognizing it as a skill I’m eager to acquire. As I progress, I’m aiming to apply color grading techniques to my Assignment 2 work, aiming to infuse it with a specific atmosphere. However, I’ve encountered the challenge of striking the delicate balance between enhancing visuals through color grading and avoiding overdoing it, which could potentially degrade the footage quality.

This week, our studio embarks on a journey into the captivating realm of the virtual. Beyond our focus on filmmaking, we’re delving into the realm of Virtual Reality (VR) applications, exploring their remarkable advancements and their potential to enhance various aspects of our lives. Among the intriguing developments is the emergence of immersion art, a burgeoning trend that has particularly captured my interest. It’s fascinating to consider how this art form can transport individuals into entirely new sensory experiences, blurring the lines between reality and imagination. Humorous as it may be, there’s an underlying truth to the idea that with the progression of technology, leaving one’s house for various activities might become increasingly optional. Nonetheless, joking aside, I genuinely believe that virtual reality holds immense potential in aiding planning and visualization processes. Just as architects meticulously draft intricate details of a building’s components, virtual reality can expedite and elevate this process by rendering designs in a immersive 3D environment rather than the traditional 2D format.

Additionally, our class has delved deeper into the production stage of filmmaking. This phase encompasses the art of constructing shots, an intricate skill where camera angles and compositions carry profound implications for storytelling. Exploring the nuances of camera angles and their associated meanings has been enlightening, revealing how subtle adjustments can convey emotions, perspectives, and intentions. Furthermore, we’ve been introduced to the transformative role of lighting in shaping an entire scene. The interplay of light and shadow can evoke moods, emphasize elements, and guide the audience’s focus. Gaining an understanding of the artistic and technical aspects of lighting has illuminated its potential to influence the narrative’s tone and the audience’s emotional engagement.

This week, our studio’s focus is on the intricate world of sound elements in filmmaking. As I journey through the process of refining and honing my filmmaking skills, I find myself growing in appreciation for the role of sound. With each new project I undertake, the profound impact of high-quality audio elements becomes evident, leading to an improvement of my overall craft. I’m continually learning how best to seamlessly integrate sound, discovering moments where a mere whoosh or booming sound can dramatically heighten the impact of actions. Even a mysterious ambient score possesses the extraordinary ability to evoke goosebumps among the audience, often before the visual content even comes into play.

Undoubtedly, if world-building stands as a cornerstone in the realm of filmmaking, then sound completes this intricate puzzle. Sound doesn’t solely contribute to the authenticity of the narrative, but it also possesses the remarkable capacity to amplify and enrich the storytelling experience. This symbiotic relationship between sound and narrative enhances the overall immersion, making the storytelling exceptionally compelling.

As we delve into narrative techniques, our class has revisited the timeless concept of the 3-act structure. Aside from creating an opening sequence, parts of the requirements of Assignment 2 is also to implement well the 3 act structure. As a result, my current aim is to create story that’s straight forward yet powerfully impactful, and have a clear 3 acts narration. This narrative will deftly build tension, culminating in a climax that leaves a resonating impression despite being simple.

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• Write a written reflection of 1000 words (minimum) of analysis and please answer: What were you trying to achieve in terms of critically communicating about synthetic media and explain the method in which the editing process was used to attempt this?

In his 2023 paper, Garon highlights the transformative potential of synthetic media and how generative AI applications can reshape the way we interact with each other. This transformation is evident in various real-life examples, I have witnessed firsthand how AI-generated voices and avatars have become a driving force on social media platforms like TikTok and YouTube, to attracts attentions, leading to the emergence of AI generative content as a popular niche.

We are currently experiencing a significant global shift akin to historical moments like the introduction of sound in cinema or television, the establishment of YouTube, or the enforcement of music copyright laws that impacted skit comedy. Just like those milestones, we find ourselves at the precipice of a new era, where AI is reshaping our interactions and experiences. It is both scary and exciting as the same time. As Cat, our studio leader, puts it and I agree, we just got to find a way to live with it.

In my title sequence, I have constructed a world where AI has taken over the medium, leading the protagonist to fear the loss of control over his life. He is anxious about being cloned, erased from existence, or replaced, as AI has the capability to create anything, including human-like entities. However, the sequence deliberately leaves the viewer to interpret the protagonist’s experiences, playing with a dim, dystopian, and chaotic aesthetic that blurs the line between reality and a possible psychotic episode.

Through this edit, I intend to convey the importance of perspective in understanding AI’s potential impact. AI is a complex and rapidly evolving topic, and its implications depend on how we perceive and handle it—be it positively or negatively. While I have never had the intention of presenting a negative depiction of AI, the somber and unsettling aesthetic of the sequence aims to highlight a hypothetical world where the dangers of AI are imminent. Additionally, the sequence intends to provoke thought and reflection on the multifaceted nature of AI, inspiring viewers to consider the possibilities, dangers, and responsibilities that come with embracing this powerful technology in our evolving world.

It is crucial to acknowledge that synthetic media is not inherently harmful, but its increasing accessibility and sophistication amplify both its potential risks and benefits, as pointed out by PAI (The Partnership on AI) in their 2023 framework for responsible use. The responsible, ethical, and moral practices surrounding AI implementation can significantly influence its impact on society.

In addition to conveying a narrative, I had also incorporated AI applications in the post-production process, particularly in the creation of an infinite zoom-in montage using the AI generative program called Stable Diffusion. This tool allowed me to bring to life a clear depiction by providing prompts to the program. The sequence starts with a zoom-in on a robot head, symbolically diving into its brain, which then transitions to our world, showcasing popular landmark locations such as the Opera House and the Pyramid and others.

The montage further progresses into an industrialised city, where robots work in factories, highlighting automation but lacking the heart and soul that comes with human care and attention. This absence of human elements results in a post-apocalyptic setting. I was surprised to see that Stable Diffusion captured the essence of my imagination with extend precision. The high-quality images produced by the AI were beyond my initial expectations.

Recalling the time when I first explored text-to-image applications, I remember encountering complexity of codes, difficulty in navigating the programs, and low-resolution outcomes. Witnessing the significant advancements made in such a short period amazed me. The progress of AI in generating realistic and high-quality images has truly been a wild ride.

The incorporation of AI in post-production has proven to be a game-changer, enabling me to bring forth a visually compelling and thought-provoking narrative that pushes the boundaries of creativity and storytelling, without the constrictions of “copyrights, distribution rights, infringement claims, or royalties.” (Garon 2023) It further underscores the rapid progress of AI technology and its potential to reshape the way we create and interact with media, specifically its impact on the film industry.

• How did your preproduction/production/post production process go and what would you do differently/improve next time?

During the process of conceptualising the title sequence, I was inspired by the topic of AI in which we were taught in class. I came up with the initial premise of a protagonist facing the threat of losing his job and way of life due to the rise of AI. To bring this idea to life, I noted down my thoughts and brainstormed ways to convey the feeling of being replaced in the title sequence. Eventually, I decided to explore cloning visual effects, and transformative objects FX utilising Photoshop’s new generative AI application.

However, I encountered some challenges along the way. Finding suitable 3D models that were free proved to be difficult, so I resorted to using Polycam for the job. The process of photo scanning my talent became finicky and time-consuming, leading to pixelation in certain parts of the model. In an attempt to conceal this flaw, I employed tint effects and increased contrast, which not only masked the pixelation but also enhanced the overall mood of the edit, giving it a monotone and somber vibe.

Although after sharing the rough cut with the class. Unfortunately, the pixelated areas that I thought I had concealed were noticed by others, prompting me to reevaluate my approach. I made adjustments by moving elements around and increasing the scale to avoid the pixelated regions in the frame. This experience taught me the importance of being meticulous in post-production and acknowledging that even minor flaws can be noticeable to the audience.

For the other idea of involving Photoshop, I struggled to find the right direction for my talent’s actions. My initial concept involved the protagonist reaching for an object that would transform over time, but it felt a bit cliché and lacked of the uniqueness I was aiming for. After some contemplation, I devised a different approach by sourcing a library of images, downloading circle-shaped looking ones and creating a small clip that showcased the object’s transformation. Although this method proved effective, there was a hint of disappointment for not fully implementing generative AI in Photoshop as I had originally intended. Time constraints and technical challenges made it difficult to explore that avenue to its full potential. Nevertheless, I remain eager to try it out in the future, as I have witnessed some truly remarkable effects achieved with generative AI in the visual arts.

• Your reflection should also include commentary on what you thought the most and least successful parts of your Film Opening Title Sequence were, and why so? (This reflection should include the questions in dot points with answers in sentences/paragraphs).

One of the most successful aspects of this project was my improved time management skills. I am genuinely proud of myself for completing the final video a day before the deadline, and even having an extra day to work on this reflection. This was my first assignment in this studio where I didn’t have to ask for an extension, and that accomplishment means a lot to me. I consciously avoided being overly ambitious and stubborn with my ideas, and I learned to accept that some tasks, like learning a whole new process of Photoshop generative AI effects in a short amount of time, might be too challenging to take on. Instead, I made pragmatic decisions and found workarounds that still resulted in decent-looking effects. By doing so, I reduced unnecessary stress and pressure, allowing me to work more efficiently and effectively.

On the other hand, it became evident that certain parts were filmed, others were 3D scanned, and some used text-to-image generation. The contrast between the AI-generated parts and the non-AI parts was obvious and didn’t blend well together. This disjointedness was noticeable and affected the overall flow and consistency of the project. I realise the importance of developing a more unified approach to using AI in filmmaking. It’s not just about utilising the technology but also about ensuring that it enhances the overall storytelling, aesthetic and especially immersion. While I was able to integrated AI-generated elements in the video, I realised that I have a long way to go to achieve a seamless blend of various techniques and visual styles, and result in a more cohesive and unity looking final project.

Production:

References:

Garon J (27-29 April 2023) ‘A Practical Introduction to Generative AI, Synthetic Media, and the Messages Found in the Latest Medium’ [conference presentation], American Bar Association Business Law Spring Meeting, Seattle, accessed 4 August 2023. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4388437

PAI (Partnership on AI) (2023) PAI’s Responsible Practices for Synthetic Media, PAI website, accessed 4 August 2023. https://syntheticmedia.partnershiponai.org/#read_the_framework

Blog posts:

Synthetic Video – Blog Post 1

Synthetic Video – Blog Post 2

Synthetic Video – Blog Post 3

This week’s exploration of synthetic voice and voice AI generated applications was truly fascinating for me. It was intriguing to learn about the capabilities of these technologies and then have the opportunity to experiment with both murf and elevenlab AI cloudbase services. I was amazed by some of the audio samples they produced; they were so lifelike and realistic, sounding just like an actual person recording. It’s incredible to see how far AI has come in replicating human voices.

During the class, we also had the chance to watch everyone’s rough cuts and receive feedback on our own projects. One sequence that really stood out to me was Amy’s Tome sequence. The way she combined the timelapse effects with the narrative of reading a book and the passing of time was so creatively fitting. It left a lasting impression on me.

I was pleasantly surprised by the positive feedback I received on my rough cut as well. It was encouraging to see that my ideas resonated with others, and they seemed to appreciate the overall concept. However, I also appreciated the constructive feedback I received, particularly about the pixelated issue that I had noticed but hoped would go unnoticed. It was a good reminder of the importance of paying attention to every detail and striving for a seamless final product. This experience has also shown me the value of receiving feedback from others. Sometimes, we might overlook certain aspects of our work, assuming that they won’t be noticed. But feedback from our peers provides valuable insights and helps us improve our projects further.

This week, unfortunately, I could not make it into the studio due to being sick. However, upon looking at the class note, I acknowledge that we were introduced to MetaHuman and DeepFakes technologies just as promised. Traditionally, character design for virtual productions involved complex and time-consuming tasks, including 3D modeling, texturing, rigging, and animation. It required a high level of expertise and many deep dives through the rabbit hole, limiting the ability of having character-driven narratives fully. With MetaHuman Creator, the process becomes much more streamlined and user-friendly. The technology leverages AI and advanced algorithms to generate highly realistic and customizable virtual human avatars with incredible detail and animation capabilities. This opens up new possibilities in storytelling and content creation, as now we can focus more on the creative aspects rather than getting bogged down in technical complexities. By providing a convenient and efficient way to design characters, applications such as this empower content creators and filmmakers to bring ideas to life more easily and effectively. It democratizes character design in the realm of synthetic media, enabling a broader range of creators to participate in the creation of immersive and engaging virtual worlds. As the technology continues to evolve, we can expect even more groundbreaking innovations in the field of synthetic media, further blurring the lines between reality and virtuality. On another hand, Cat also introduces Maya to us, a 3D making program that been effectively used in big studios such as Method and Luma Pictures and in the making of popular, visually driven films such as Marvels.

From the introduction of this course in week 1, synthetic media seems to open up a world of creative possibilities by leveraging technology and artificial intelligence to produce compelling content. Students have been gently nudged towards a more positive perspective on this incredible and crazy rise of AI techs. I share this excitement as I believe AI is nothing more than a fancy tool for us to incorporate into our arsenal, enabling us to create amazing ideas beyond imagination. Besides the exercise of using our phones to capture real-life objects and turn them into their 3D versions via Polycam and the photo-scanning process, we were also introduced to importing those 3D scan models into Runway AI, an AI-generative cloud-based application that I think has so much potential. It provides access to various AI models that can generate and manipulate images, videos, and other media. For virtual production, I have found that we can use Runway AI to create or replace backgrounds, generate interesting contents, or even add special effects using AI-powered tools. The platform’s versatility makes it an excellent tool for experimenting and augmenting our virtual production. In addition to these applications, there are other tools and techniques that Cat, our studio leader, also mentioned that we might be able to play with later on. These include things such as the Unreal Engine and MetaHuman. The combination of these technologies empowers creators to build immersive and visually stunning virtual worlds. However, such amazing technologies almost definitely have their setbacks, such as bad examples of overuse or discredit issues towards artists, problems of originality, and many more. By becoming aware of all these known issues, we are encouraged to look at this AI phenomenon from a more sensible perspective. Even though it is such a powerful tool, we ought to learn how to appropriately implement AI in an ethical and morally acceptable way.