Roger Ebert quote:
"the process, we have considered some of the fundamental rules of cinematic composition, such as that the right of the screen is more positive, or emotionally loaded, than the left, and that movement to the right seems more natural than movement to the left. We have noticed that the strongest vertical axis on the screen is not in the exact center but just to the right of it. (This business of the right being more positive than the left, by the way, seems to be related to the different natures of the two hemispheres of the brain: The right is more intuitive and emotional, the left more analytical and objective, and in the sensual escapism of the narrative film the left tends to give up the process of rational analysis and allow the right to become swept up in the story.) We have also talked about the greater strength of the foreground than the background, of the top over the bottom, and of how diagonals seem to want to escape the screen while horizontals and verticals seem content to remain where they are. We have talked about the dominance of movement over things at rest, and of how brighter colors advance while darker ones recede, and of how some directors seem to assign moral or judgmental values to areas within the frame, and then place their characters according to those values. And we have noticed what seems obvious, that closer shots tend to be more subjective and longer shots more objective, and that high angles diminish the importance of the subject but low angles enhance.
Its structure was interesting, too, with its two intersecting lines of emotion: "Bonnie and Clyde" began as a comedy with tragic undertones, and then Penn subtly orchestrated the film’s structure so that each laugh was more quickly interrupted by violence than the one before. Finally the film was no longer funny at all, and then, in his final passages, Penn provided such suffering and such bloodshed for his characters that the movie myth of the romantic gangster was laid to rest forever.Bibi Andersson enters on the “strong axis,” the point just to the right of the screen’s true center. She moves left, a “negative” direction to our bicameral human brain. She enters the left door, placed on a “weaker” side of the screen. She gets the water, drinks it, moves back again to the right (a “positive” movement) and lies down on the bed, facing right, her body balanced on the strong axis. Liv Ullmann appears in the brightly lit, almost ethereal space behind the same curtains on the right—she seems almost a ghost. She enters the room, repeats Andersson’s movements, and comes to stand just to the left of center (slightly “negative”). She speaks, or does she? We do not see her lips move. Bibi Andersson, apparently asleep, senses a presence in the room. She turns on her side in the bed, sees Liv Ullmann, and rises. The two women approach each other and then turn to the camera—to us. They move so that now Ullmann is on the right, reassuring, “strong axis.” She brushes back Andersson’s hair. Both look at us.:"
TRULY GLOBAL ONLINE
Does humanity have a too strong a reflex to violence to solve the issues of crime. No, is the response so far, but then, what degree of violence as we seek to minimize?
Are there institutions of larger groups than families, gangs and tribes, that also promulgate violence?
Races, Nations, Religions, Sexuality...all these things enable violence.
But people, globally, cannot get rid of these ideas that make an identity.
In the modern school, we are taught character.
Character is too painful to bear all the time, as suggested by the reflex to violence, though, a concientious person confronts more opportunities for violence in urban areas.
No terrorist blow up rural areas.
In rural areas, violence is less an issue, its less a confrontation of fine degree, its closer to nature, and life is dying all around you all the time. In cities, the stone and brick and asphalt look the same decade after decade.
The tragic, the pitiful, the oppressed, the suffering are the results of violence.
These people seek Justice.
Yet, embracing these downtrodden, enabling a market while merciful, enables liars and criminals.
The move into welfare states as terrorist agents is a current tactic, more applicable to Europe but in motion here, since the shooting north of here.
However, it didn't really get that far. It can be easily, traditionally, cracked down on.
As blowback for centuries of imperialism (all Nations have phased this way, those, using "phased" is to suggest that some Nations have been more imperialistic than others.)
Also, as you look back into History, imperialism waxes and wains, seems more normative, and declines steadily, suggesting other places, such as Africa, having a great potential because its geographic area...the aim of imperialism, has not yet been subjected by a Imperial power.
Slavery was an institution on the fringe, and, conducted by nearly all regions. There should be no illusion, based on a too strictly "American" view, that Africans are innately more virtuous because they were not slavers, but slaves.
Nevertheless, imperialism seems to be unpopular in general. A democratic tendency, which seems not to be so necessary to promote artificially...similar to the tendency towards truth and justice...every character is interested in these modern instutitions, while medieval people tend to credit belief and faith over truth and justice.
Suggesting a conservation of reflex of violence, and a tendency to imperialism: which seeks to create a vast underclass of functioning slaves, while a large over class, large enough to form senates or aristocracies,
This is still the way it is, the imperium being more the eye of sauron...the world wide fusion of people onto the internet and into a virtual world of debate, confrontation, competition...the olympics literally being a egg of a far larger beast that is going to be international relations online.
DIGITAL GREEN
As the game begins, one Avatar is established.
Once you have signed up, anonymously, you can make more avatars. Lineages to the original Avatar form narrative sequences...based on the ones connected to your Avatar, or, they are not connected; so some can be connected, some not, its a choice. You might even eventually have eight avatars and one prime avatar, in which three sets of three are connected. These avatars can be duplicates or completely different instances...centaurs, Buddha, etc.
This should be available by the time Tolkien's naming system becomes public domain...but other settings can include those created by the owner of the Avatar.
Narrative sequences not related to your Avatar, which is pre-selected, but then also can be selected and then broken off by choice...anyway, the not selected can include a duplicate of your avatar.
Saying, duplicate is not to say the Avatar is not the same from one narrative to the other, it means to clarify that if a narrative sequence is replayed, there is the opportunity to use what would be a duplicate because in replay there is parallel structure. This gets into the idea of PKDick and these alternative reality and time travel and parallel ideas, which I argue become...what was becoming in the industrial is now become just a function of a interactive narrative and game narrative.
The first Avatar should be unhackable, not totally anonymous, yet tied to a particular computer. So, one is not anonymous for there is a fee to play.
But security, and the companies liability for that security, is not to be controlled or liable for any other duplicates or other inventions. So, once in the system, the anonymity is put into a cloud.
Once inside that unhackable cloud, one also can take someone elses identity, in the cloud, and if a duplicate, maybe the original will not be known as at that instant the player also decides to disconnect the narrative to the narrative stream where this template Avatar was discovered.
Any and all other iterations, doubles or variations...any other avatar, remains private, even to the company.
This first you make will be your first world Avatar. The next can be of any, but this first one will always stay in the first world. That narrative stream is not multi-player.
Either way, the player can eventually merge an ongoing narrative with another narrative, one Avater with another, even into a larger Avatar multi player group...for instance his girlfriends, and they then co customize their narratives, and these parameters control many variables within the program, such as editing styles/camera placement/setting/lighting.
The interactive story or narrative is akin to table role playing games, or really online role playing games programmed so, that the interactivity of table top is available.
Because it is remote the access can be had from anywhere so the sorting of Avatars into teams, can be by choice, or random...also, there would be a limit in how many can be in one narrative however, I am not sure what that limit is...I am constructing programming for small groups of perhaps up to four.
Narrative participation can be active or passive...one can watch the customized show with pre-chosen profile, then interrupt it, go back, start another narrative stream or seek to go over the current one, and play the role on going, altering it but in some way that interactivity is engaged, such as speech and acting.
Its like Social Media Theater.
The player could interrupt the intro story...or any later more passively engaged part of the narrative..,, say, stop, go back to here. Then the narrative starts up again and the player does some interactivity, even interacting for hours perhaps...
To then pause, leave the storyline for sleep, job, etc. Then, come back, pick it up where it left off...teams might play together, more or less mixing passivity with interacting, much like a rehearsal or a role playing game, life role playing game, cosplay (live), or even more informal like Ren faire.
People can choose parameters that are disparete, but again, teams might form which would want to stay in a certain narrative, or, if they had agreed to change the narrative from time to time by role playing or rehearsing in a intermediate space. The time traveling machine or the planescape city of Sigil, or the portal, etc.
The player makes choices on whether or not to make it chaotic Avatars. The chaotic Avatar is one that the player stops the narrative sequence and inserts a completely new form, with vastly different stats, a monster replacing a former elf...this is not uncommon in storytelling.
Yet, it does mean a different set of narratives, usually a horror narrative any where nearby in the edit.
These sequences created can be viewed later, or reviewed, but I imagine many would just as enjoy the rehearsal, and do other things rather than watching them operate a Avatar in a narrative, of course, their own speech identifiable, otherwise, anonymously acting.
Or, the player might just be totally passive, and even enjoy watching the more extreme"rehearsal"...a narrative with many players interrupting and trying to add their own narrative spin. Otherwise, its like a binge watching, infinitely, a narrative the viewer can reprogram, yet, containing the same Avatars.
The ownership of the secondary Avatars can be duplicated, remember?
A American boxer, who wants to play a troll, can actually fight, or spar, with a Chinese Kung Fu monk, if they wear exo-skelatons that can force restraint.
They can register points of impact, if in the arms or legs or through a mask or face tight hood, as minor vibrations. Meanwhile, motion sensors can plot the motions, anticipate the impacts before the fighters, and cause the exoskelaton to lock at an impact, vibrate in a sorta specific area at the impact.
Weapons can also perform if having these restraints in the handle...one weilds a plastic or nearly duplicate weighted weapons that wraps around the hand so that then the weapon "makes an impact" with another player or equally virtualized item, that system locks.
It might have to be a arm, or even a less technically advanced suit or the prototype of the hand to hand, (not weapon to weapon) suit.
This will have a degree of its artifice that interfaces with changing the actualy dynamics, with less fidelity, yet, the simulation could be quite accurate.
In the sense of a swordfight, wherein, one player has a cutlass, the other a rapier. The cutlass, with its own accelerometer and gyroscope, is connected to the exo-skeleton..the "ex", with is a frame similar to inertial motion capture suits, but having tension at the joints.
So, an impact would lock the wrist hard, the elbow and shoulder less hard, the back less hard, the waist least hard, the knees less hard and the ankle most hard.
This sequence depends upon faster than a quarter second to receive, code, re-transmit and execute, but it does have pauses where the participants get into instinctive reflexive rhythms.
Stage fighting is just an option.
However, running from the monster, now that's what a lot of parties are all going to do!
SCENE ONE:CAMERA
So, in planning the scene around the song, around the lyrics and acting...there are three arcs, or spaces to perform, each adding or subtracting.
*Is this fps of 60? The adding and subtracting being frames per second so that cuts can be compressed through compression or expansion elsewhere in the scene.
Twice the necessary average of fps? Again, this is to meld scenes together, fill that blank space that will occur in some greater transition, elsewhere. Increased fps can stretch time, shorten or lengthen, either faster to 15 frames, or flashing to even 6 fps, to slow mo of some variance, of not always 60, but at some point hits that mark.
Also, during the scene, some actions call for slow-mo. Simple things, or big important moments...the cliche "leaping and catching the object". These can be inserts that are expansions...or elisions, that also squeeze close the blank space between cuts.
Each sequence has its own rhythm; given the style of edit. given the action-genre, and then on even to what gives about exposition, symbolism, intersubjectivity, objectivity, personal, 3rd person, sometimes this approximated in increasing a decreasing teh number of camera angles available to present to viewer. A single camera coverage (for how long?), a two shot (having spatial attributes but inclusive of the idea of shot-reverse-shot...the editing of a 'monologue' like Gollum to dialogues, a three shot, a four shot....moments of culminating action sometimes having a lot of smaller cuts.)
These have rhythmic underpinnings, but like any rhythm it fits more uniquely into timbre and tone, which is music and musical analogy in narrative and "photography", but I digress out of editing and cameras into music.
A four shot is increasing likelihood of using slow mo, perhaps one third rather than a whole 60 fps....or, a cutaway, or even a arbitrary camera angle...this including more movement and cutting regarding content...anyway, it has a kind of round cycle and feels, in editing action, as a compound sentence of some subtlety, with the unique clause or the exclamation point, that getting to the fourth camera glimpse, to then dip back down into the three nearly equal moments.
"Everybody make a face reacting to falling from the airship...you first Player A!"
Specifically, fps are also within the same set of cameras, maybe 20 choices of change of angle and how long the scene renders from that camera...whose moment on, and then off as the perspective moves according to speech, gesture...its not that complicated, yet.
But slo-mo helps make some transitions work, and in all cases sensitivity to transitions is terrifically useful.
Even sets, like 180 degree style.
Hah! I begin with a digression!
(Or, is "digression" a literary pretense to limitations? I mean, programming thrives on digression.)
A good solid summary, in a nutshell!
Wait, more digression: as in "Sooo meta"...yet meta is mockingly...hiding in that, and in language, are these industrial bombs...I can see that Meta was industrial squirming to grow into programming, as was digression.
The shell of signage absolutely bound in the form.
As is, meta is a industrial idea, although a late industrial idea, if not the type-token of semiotics, or "coin and mint" of Shakespeare. As if industrial programming had grown into the nervous system.
Meta has a hope, like the perfect chair as used by Plato to exemplify this perfect idea. if repeating a reality could result in something better. It also works like magic with Time Travel, and so on...so magical thinking.
The best way to legitimize meta at first is a string of Meta Dystopia...for instance LeGuin's Lathe of Heaven. Or Calvino, of whom I am no fan. Nor of Pynchon or Vonnegut. Distinctively the indulging in conceptual hoo haw. Sometimes they meant it as a joke but I didn't that sense of humor either.
So Industrial, so post WW2...be CAREFUL!
They scream...step on a butterfly and all reality will be changed,
or "TV's will turn into one-way monitors!"
ala Orwell.
But, meta is the late industrial 'old idea', fully formed by the 70's...meta,
a literary practice
(perhaps best done by Joyce in Portrait of the Artist)
was widely practiced by such writers as Pynchon, in the 70's.
What I am saying as insofar as I understand and think it sucks as a literary genre, its actually quite feasible and advanced in thinking as a Role Playing Game practice.
Many games objectify the meta thinking...such as Planescape, but really its now such a convention that no value comes from its use as a setting other than a new subjectivity; sensation in
Hence its not necessary to use it as future syntax, but actually more as cultural cliche now.
As in the frequent shift in tone from environment to environment...perhaps first transitioned with a road sequence, but then not, just jumping through a quick glimmer of a forgettable world into another crises-investigation-discovery of evil-moving on sequence.
Meta practice, which is a elevated form of spectacle, amenable to reversals but also as mocked as a cheap device. Only if left to the literate stuck in late industrial culture.
Meta practice then, is something less than elevated, spectacle, and reversals.
If reversals and meta stories are colluding, meshed together, which action sequence editing and generous slow mo and criss crossing 180 degrees, plugged into freak accidents, then the spectacle can score quite a bit more, right? Sixteen narratives meshing together in some climatic moment with slow mo exhibiting each entering the same space for the first time...all of the Doctors of Doctor Who, meeting at a shipwreck.
The confusion or 'failure of meta' due to the calculation required by both reader and writer, and I use Pynchon as a totally opaque unreadable confusion, yet somehow has a readership.
Going meta can be better enabled by having this as a functional part of the narrative.
Barthes and Popp, Jung and other narrative formalists...these sometimes retreated into simplifications, and skipped over some functions...using the tendency in the literate to find limit in term-inizing...industrial sermonizing...to term it it had a Linnean label within a label, but there ended the listing of the hetereogeneity.
Meta is not easy to handle. PK Dick did a good job, Douglas Adams, Pynchon and Calvino too, there are many examples, but a reactionary audience, as insignificant this is in Aesthetics, resulted in a "more than the in crowd", to mock meta from outside as ridiculous. Actually, a similar critique the mid moderns have for the neo classic "eclectic" style. That became a Meme, mocking meta....before computers.
Its in the same dead vein as mocking the PoMo emergence...the nerves of late industrialism no longer main current, but do remain as the dead cells.
Example of an action sequence.
The lead BlackbirdA began to spin, and then began skipping across the air, helicoptering, in some crazy way no one had predicted, to then pull out, go unconscious, some back and strafe the fifteen WhiteStar Fights, their lead pilots, strafing across them from behind, attracting panic fire from the next wave and next wave, hitting more of the first wave pilots, disintegrating BBA.
BBA turns up and fires afterburners, wherein, ejecting, yet not explosively, just a slight leap up while the debris flew around him, beating his way through the debris, slightly arcing, then the chute opens and yanks him up even higher, yet releasing a grappling hook down, from a cable, which drops far enough down to then fire a rocket also on the grappling, which yanks and propels, slowly, BBA's descent, to aim by tracking from above, towards the final wave in the back.
However, some planes had it out for him, pursued, always straffing, yet narrowly avoided everytime...BBA watching the tracers and swinging or bending or moving inbetween or leaping over some three waves coming from three angles...the straffing eventually ripping the parachute..and strafed way too effective for a second pass...even as the split second round of tracers approached BBA from the front, he released, and the rocket propelled, jerked, surprisingly fast, down...,past the last row of the WhiteStars, and out over the sea,,,wherein, BBA waking up again, having passed out a second time from G's, has these planes straffing into the sea.
BBA bounces along, skipping and spinning like a stone, until the rocket runs out of feul and BBA has fended off, dodged with greater ease however even closer strikes, until he slows, and begins to sink in the weight of the rope.
While just going underwater BBA sees the second banking action of the three WS J fighters...to approach again, he sinks...
Get out of the rig, even as bullets penetrated deep into the water, targeting him despite his depth, and the strafing...seen approaching, pierces through a fish...wherein, BBA freezes in some Zen, keeping straight as possible, this surprise strafe missing him yet again.
BBA has to surface, this continues on and on.
Until we can see it as a program, an elaboration on the competing scooters.
SCENE ONE:LIGHTING
23 degrees above horizon, or, more specifically, the early evening, wherein, specifically more still, the sun changes colors. It is a slightly more color change than just yellow, some tinge, if very delicate and only surmised by timing.
Add to this a filter of yellow, that turns up the light blue and turns down the yellow, except when in white.
This should also remove dark blue, so that red with purple turns a brighter red.
Shadows thicken, white disappears, just enough yellow, or really a amber, to bring out the orange fringe of that azimuth?...that position of the sun in the sky.
Thats the standard lighting.
Lighting is connected to mood and scene, edited lighting would be scene changes, even if during the same day, but some scene changes are ends of moods, so the light can change more...as if more time needed or did not need to be precisely rendered.
Yet then the end of this mood might require a change in tone, not quite mood, and therein, the lighting has to change in tone, perhaps getting hotter, or cooler.
As counter intuitive that is, it can be reversed in aesthetics. Again, a industrial literary pretense means hot and cold represent opposite temperatures, but when reversed switch place and create reverse effects such as shifting the flow away, a convection cell seen from the intake, but then reversed to outflow, a reversable polarity...and this can lean in directions, spin on its own and does in procession, flow mimicking magnetism.
The shifted areas are opposing, then the shift of cold to hot creates instead a flowing towards the view.
So, why this physics lesson on free floating convection cells, almost like a shoal, perhaps more like the magnetic fields...yes?
Its a way of describing lighting as having contrasting colors, yellow and blue, red and green, purple and orange. And this can counter point a scene just as frequently as it can harmonize to oblivion.
This is a way to build up a scene, and doing so by pre sets, then variance...more to follow the butterfly strange attractor.
SCENE ONE: INTRO
Actually, what I was to say, was, in beginning the scene as stagecraft and blocking in the sense of the limits of a theater stage, to then have the animation transition into cinematic...er...closer to subjective...the dissolving of the audience into a psychic inner space.
And there is the reverse of this, coming out of inter-subjectivity into objectivity. Just a mdoern conventionality...the shot of the reaction of the actor, the subjective look, the taking it personal, the internalize the emotion to exhibit it, owning the moment...this look from the actor is then followed by, as we almost automatically expect, a reverse view of what it is that is causal. Yet, that can be reversed, wherein, the objective causality of the second shot becomes the opening shot, followed by the actors subjectivification. Same thing, one develops tension, the other does not do either develop, introduce or close tension, it just is going along.
It does emphasis however, that we the viewer see something first, so that we possess it before the actor reacts.
Furthermore, the action of the actor can be reversed, or slowed down, or, compressed, or even just a few frames of very little change in the actors expression.
Programming editing is not just that cue card of multi channel story icons that indicate different camera configurations and affectations and techniques. Though, that document does illustrate better than so much writing.
So, the idea of reversability occurs in each shot, each shot could change into another scene. The shots are centered on characters...one shot contains a focal change of Close Up, Medium (shoulders on up), and Medium Long (from the knees up).
Long shots are added as a layer further out. Or, there is another shot layer given the frequency sought in creating rendering orders.
Its not so complex actually. And its not original that much. I could cite a couple of works but the main thinking has been delayed enough with digressions...
To close on the original technique, before getting into the point of the transition of literacy from depth and superficiality, fantasy and realism, quality...to fragment even more...wherein, those things might all combine in the smaller size bits or, even, other structures to emerge as artistic practices, as aesthetics. Not odd either, very typical of the form...and evolution of Art History in smaller fragments and also other fragments.
Back in my day, cross disciplinary studies has be faculty approved. These days, its just another degree.
Baccaccio comes to mind (as a Academic), but there is the D.W. Griffith, or W. S. Porter use of Close ups as more intimate psychology and the invention of the larger than life persona: avatars. Again, this is not meant to be citing, as amateur historical practice, the day of the invention as a order of celebrity.
But the hive mind is a better concept as to why to use the shorthand of biography/invention, for really what is being built, in this respect the day Egypt invented public spectacle is equal to any subsequent public spectacles since.
No seven wonders of the world, there are thousands of wonders of the world...building the Art History database of the world is, or was, a international academic group project limited by flight, once upon a time.
Structuralism, with a bit more processing power now, is not quite the picture, yet just listing opposing terms...keeping them in mind as reversals, is too bland to evoke shear, heat and spectacle...those kinds of dynamic spins control the weight of the camera and the weight of the objects, to evoke 3-d enough...not just hyperactively hopping from one camera another, but the sense of a moving and panning and tracking camera...of various quality of movement.
A kind of deck of classes of moves.
Levi Strauss said something about structuralism. Seemed legit.
This deck has grown so larger we even see the raving practicing of improvisation.
And thats a good comparison and compression: now what took time to cross time and space to influence future generations, arrives today, on a map, at a precise time, soon before something happens
One had to go to place, far away, by horseback or boat, to see.
There is slippage in constructing the whole here, a fracture, the first of many I am sure, which is between the song, and the acting, and the transition overall to increased subjectivity and inner evocation...an increased spectacle, vastly less empty than the past ones, "Cinerama" before.
Cineramic as having some factors...wider screen, scrolling, panning...a specific color schemes if not technicolor.
Describing...er, storyboards, or verbal sketches of storyboards...or, writing the storyboards before drawing them, frame by frame, there is preamble, for to storyboard is to program. But exposition of the programming comes later.
The big face appeals to many in different ways: some its winning a biggest head contest. To others is a best approximation of their inner images of people. For others its "Mom's" face...maybe all three in shifting harmonics and hormones.
This pattern is more noticeable now. Compression...its not quite enough to call it historical compression, but just as the machine is compressing more efficiently, its teaching us to as well. (Is that the title of a book from 2008?).
So, the story begins. Pirate Ship named....Homonculus Nebula
SET ONE
Begins the first lyric
(Theater Set)
Frame one: Gnome named YESMAD preps for leaping off a Airship...the target unseen below. Oh they try to look, sure, this must be a leap of faith. Any beginning is!
Frame two: We see his eyes, scanning below...we see his hands drawing, clicking together straps, checking ropes...helmet.
From his POV reverse angle, we see nothing but a trailing rope whose far gently whipping end hook scintillates in the setting sun.
(first break from theater set)
Frame three; HELMAT yells out, over the whipping air, standing above the leaping deck (of this sloped stage set piece of the side and top corner of an Airship).
YESMAD!
Frame four: We read his face, from any angle, anxious to go.
Frame five: YESMAD, finished, lifts his scanning eyes back over his shoulder "inserts" (speaks of just gestures, in many other ways) HELLMAT!
Frame six: YESMAD then leaps off, singing the song.
(Theater vanishes)
SET TWO (rope wing)
Begins the first chorus
Frame one: YESMAD face singing
Frame two: YESMAD in greater air resistance, floats down holding a semi static rope...the dynamic pull is dampened but not superceded by air resistance all around, the downward swing...to upward tension on the rope, as it has snagged, and in response sudden increased YESMAD arc...
Frame three: Face of YESMAD recognizing target.
Frame four: TREASURE SHIP in fog. POV from above to the far left to right...
Reversals: to sideways, turning the body in the air to then get the wave of attachment faced forwards and shifting to a arc sideways and down and then back up.
Frame five; Rope, transverse at 85 degrees, falls gently and generously over the top of the Treasure Ship, slides across in some rapport with YESMADs descent...pulling a little more and more.
Reversal: Treasure ship compensates..
Frame six: YESMAD hits booster rock and flies up, still holding rope.
Frame seven: YESMAD lands on the window frame.
SET THREE
Begins the second lyric
Frame one: Moving into position to the window.
Reversal: Singing
Frame two: Getting into Position on the window.
Reversal: Singing
SET FOUR
Frame one: window opens, YESMAD steps in. Surveys scene, which is the POV of the item.
Frame two: medium shot on YESMAD's. Spots item.
Frame three: treasure ship interior floor, windows and crepe light.
Frame four: YESMAD leaps down
Frame five: YESMAD approaches object
Frame six: YESMAD picks up object
Frame seven: Alarmed at Drone swarm approach, YESMAD floats up on personnel rocket.
Frame eight: YESMAD flies out of window really fast...
Frame nine: Hook becomes straight and its fastening on Treasure Ship ceases...ropes slides, then is yanked...
Frame ten: YESMAD flies down into lower city.
Frame eleven: rope accumulates into a magnetic coil like shield, forming around YESMAD as he bottoms out and flys down a street.
Frame twelve: Drones lose track as read via terminal over teh shoulder of a faceless row of IT drone analysts.
ENDS
(Okay, still curious about structuralism as essentially opposites creating meaning? When its dark, its not light...this dynamic that changes but always stays the same.)
To C.U. of SEEKER, who watches YESMAD zoom by, grasping hands envious, turns away...
this is a shot reverse shot but of phenomenal vision capability of YESMAD, who looks down, while waht SEEKER sees, looking up, is just a glimmer of light in a stormy sky.
TRANSITION
View(s) slowly rotates, or moves in descending or ascending or even static arcs, showing a dark street with high stone wall. Medieval looking, to C.U. of SEEKER, who watches YESMAD zoom by, grasping hands envious, turns away...
SCENE TWO
Frame one: SEEKER appears, singing...walks down a street...past a woman in old, but nice clothes, with a soldier, puking, up to a the large stone wall and the barred gate. A dim street light on a wire, lights the scene. Another man, shabbily dressed, walks warily by. SEEKER checks a card.
Frame two: data on card.
Frame three: Down the street a craft hovers, pauses. The windows are glazed over. It turns slowly to face the cross of the T, where SEEKER stands.
Frame four; SEEKER resumes walking, anxious as to the craft, past the door, to the other side, a dark apartment obscuring the view (the barred gate, fixtured with a dim neon, is not perfectly in the "T" but halfway. Apt, in shadow, (most lights off), is on the opposite side of street. He clutches his tatty jacket, covering dirty clothes. The lights of the craft shine on, but do not move.
Frame four: SEEKER climbs the wall.
Frame five: C.U. of SEEKER's face, singing
Frame six: SEEKER reaches top of wall.
Frame seven: SEEKER stands up, turns around.
Frame eight: SEEKER sees Vehicle lights approach.
Frame nine: POV SEEKER
Reverse: SEEKER's face.
Ten: SEEKER leaps down, grabs edge of wall, deftly.
11: SEEKER hanging on wall.
12. SEEKER drops to ground, steps out of looming wall, walks past camera
13. HOUSE LIGHTS house lights turn, THEN dog barks..."thwack", dog stops.
14. SEEKER in new light, holding between wall and office side door of house...
15. SEEKER walks forward, into light, which increases suddenly.
Reverse: TWOGORE steps through door...
16 SEEKER holds out money.
Reverse. TWOGORE allows him in.
Sequence...the songs complexity escapes right now.
so, a sketch, not so rigorous: jump cuts...
led to room, then it is lit.
led to chair, climbs up
lays down, strapped down
still hold money...TWOGORE takes it.
Walks over to machine..old style wall of light console. The biggest dial is a Tranformative Radiation Index: TWOGORE turns it from Saytr to Human, then hits the switch male or female...programs a bank...like Logan's Run.
Wel, actually, there is an image, but what it is is not what it intends to be. Its based a concept, that is akin to a JG Ballard story about these large rectangular survellience structures descending down from the clouds to hover above the earth twenty miles. The people in the town down below just looked up at them.
Well, like that in the computers descend down to always a head above the users, descending to a fixed point, like, two meters above the floor.
Here, few lights mean sillouttes of items, most art deco science equipment...somehow not legit.
The box he is in melts and he drops into liquid, oily and viscous, he freezes but then the liquid changes real fast to a poof of gas...for 15 or less frames per, the ice, slush, water, to vapor transition accelerates...electricitrical arcs or something...POOF, woman.
The box tips forward and SEEKER steps out...amazed
TWOGORE has good bedside manner, hangs up the phone, walks over and lead SEEKER out...to the outside door.
(Back to Theater)
SEEKER steps through door outside, a distant light descends...stops, hovers, ladder drops down...and a hand is held out...the rest not seen.
SEEKER climbs the ladder.
SCENE THREE
Brought on up the ladder to strange looking elvish almost, or Asian eyes, Semitic nose, White skin and Afro's...but with pointy ears.
This one is ASIF (postures of doubt, contradition, defiance and obstreperousness), next is SEENO (pays no attention to anything except themselves), then WITNO (deer in the headlights), DUH (very accurate to that wavelength of mind and not mocking...but in fine range of tones that are not mocking...) and GULL (a sorta of ADD, not the first guess beoing a kind of mockery too, but, a insertion of attention deficit as it is an impatience...the deeper but still innocuous impatience of a junkie, is one tone for example).
Winding, swirling, tubular, spirals around spirals, helixi, cadecus...Scorsese opening show...long take, tracking all....a swarm shaped to increase and focus the sense of the range of motion around a reprogrammable sequence of camera cuts...the automatic editing more randomized even as there are more angles...however, I want to keep it on one axis like a wide stage shot, with background like drops.
In this case the randomization is conformed and conserved eventually around the axial front door, to out the back door, giving it a rush kind of feeling. Therefore, a moment of extreme slo-mo of 60fps, for a variable few seconds, maybe over a cut or two, can represent a "jewel in the crown" pattern.
However, this might be from seven angles, therefore, other configurations are possible that would lead to the punctuated slo mo later, or earlier, and the angles to count up to blurring the axial rush effect.
There can be a behind the scenes counter...with fewer cameras...theater lights in the sillouttes of backgrounds...hightly recommended.
Within those twoo poles, a camera may swing about, ever suggesting dance steps. This is to say a kind of dance step, ballet, or swing or improvisational otherwise creates a swarm of cameras more or less of the same style and height.
By cutting among those the motion of the dance can be disregarded...because a collection now is amoung medium shots and close ups; above the waist.
Thsi establishes, generally (not all scene benefit from any close up), a larger concentration of shots in CU in most scenes, with a minimum of four per face, which can be aligned to fit into dance moves...as in the head of the camera person dancing alongside SEEKER, makes steps that result in a dancelike movement of frame...as it can go around and follow SEEKER from behind.
So, we might use four dance moves, with a polarity of three in front and one in back, yet, rotating the two in front in curves...reversable (one going left, the other right, to converge and pass by in opposition, or, they both orbit, perhaps slowing).
The polarity between the background viewing out over the stage and into the audience (which again, is just backgrounds, and can vary, including, live stages outdoors, small black box theaters, just staged with people around and camera...a pre set background mix.
Pastels, lights...scintillating, white, with pastel polka dots. Summer green and blue, reflecting
The space unfolds, has veils and mists and flashes. In the cinematic story, it zooms up, through night, up to dawn, to starlight, then back down. Perhaps each moment the SINGER other than SEEKER turns away from a window, or a window(s) are floating by onstage, like magic floating TV monitors.
The scene requires this kind of melding of techniques, streaming them in a way that creates more constraints than usual...however, elegant.
MUSIC
First, the structure of the song: ASIF, chorus, SEENO, SEEKER, WITNO, chorus, SEEKER, DUH, chorus, SEEKER, GULL, ASIF (last lyric).
1.
After that this:
SCENE FOUR
Give em the best of everything
before envy hate and wrath
grabs, strangles and snaps.
Give them all their wanting for, for
they'll be delayed while we
go through the next door
over new floors
see the new vistas.
What new beast this way slouches
based on the computers great more?
Are the computers what we fight for?
Or, is it sentiment?, (turns to at large) who votes WAR!
Who are those lyrics for? Anyway, here is new lyrics to be sung as Kimbro
Oh they break the spirit
fill it with fear and hate
quiet your self
avoid paying that tax rate!
Yet broken, overcome
you limp, you cry,
Son, er daughter, you
find redemption in a pun!
TIMBRO, its a scene behind a fence, with debris. The debris is a procedural list, that changes, slightly, at each change of camera angle, as if, the edit was composed of different nights of footage (and camera angles) but the set dressers did not duplicate the continuity.
Violating this continuity is whether Timbro is holding a cup. This occurs, this cup disappearing, right before the second chorus, sometime into the song.
The debris does change so much, but the piles in the background, they are composed perhaps of the same eighteen bits of debris but reconfigured whenever the camera changes angles, as per a procedural map generated is connected to randomization of the edit..some programming right in the edit.
Get to that in a moment. So, in more demonstrative ways the cups people hold change into different cups, the pipe a superluminary is smoking changes shape.
But TIMBRO, a man with satyr hoofs, and satyr curvy horns, dressed in hippie fringed leather, sporting a egyptian poky beard, hooves.
There are eight of these guys, four women Saytr's. Ram and Sheep people. They wear wool and leather.
Among them are three Otters, three Cat, and three Dog people, three spider monkey and one Howler monkey. The bull men emerge, three clones, each with chainsaws.
This jumping about and leaping about and colliding sometimes, the dissolution into a wild frenzied like dance which ends up int eh worm, everyone eventually down, arms akimbo, vibrating...its an eighties kind dance.
SCENE FIVE
One dance is standing still, but squirmy...swirling the hips, leaping in place, wiggling in asyymetric circles.
Another is a standing in place practice of Feng Shui..the circular motion martial art...
The third is standing in place but actions, dance-interpreted, tell a story, mostly of entering a formal dance, like the manners of the classy ballroom, wherepon, there stares the King up on pedastal, holding, formally, the Queen's hand.
Kind of dance.
There is a kind of pattern in the music that is delayed harmony...the two samples are not quite played the same..or, well, specifically, the first is perfect timing, the second a little late (by a quarter note), the third a immodest quater note off, well, quarter and a half second rough estimate. Actually, to write it out as a number to show decimal points...accurate to the hundreds, as hard to factor as possible.
Am I putting too much into it? Well, its an expression of the kind of sideways thinking that is critical of both analytics and criticism, yet, moves alongside of them.
Anyway, the music has this as a principle, in general, but in animation, this particular scene has semi amatuers of a elite class of soldiers...a kind of Buzby Berkeley set, not moving..yet that has 42 singing generals, in various finer degrees of insignia...suggesting another world, analogous but not really anywhere at any time...perhaps the future.
There is a Timpani player, oboe, flute, and a piano. So, it has been suggested to be a night club with a lot of generals. However, this is not a grand a staging...just a nightclub singer.
It fits both, so there may be a cutting between the two.
In the case of the Eunuchs of the Ming, the whole household would be arrayed to sing to the Emperor.
In the case of the late sci fi setting, the creatures of perhaps more predatory adaptations, such as weapons, armor, claws...Zinti is a good idea...but we go into the Gamma Animal lists.
There is a some bad playing, but it is a very solemn occasion so the bad playing is tolerated...it cannot keep up with the singing also...and yet the piano, which must be somewhere on set.
I imagine a climbing stairway, which is completely filled, and there is a preamble as the camera walks out of the hallway, sumputous, into the grand hall, with is climbing, three tier (doubled sided to a platform on top, which is a exit to a balcony into which the moon is unnaturally large.
Marble, candlelit, with a small band in the middle of the bottom stairs...the piano not a grand stage cliche piano, or a spinnet, nor an electric stand up, but a grand pipe organ that is computer controlled to play a humble piano.
All the faces are some what distorted. The Clothing is the main "sign", I like Olive with gold trim and Navy Blues with gold trim and Light Blue with white trim, and Crimson-coats with white trim. A lighter Olive than WW2 GI.
Hats are tight and form fitting. Sometimes they look like fake hair...wherein, in the modeling, the hair is textured in such a way as to look too waxy, too poofy. Extreme afro's are accepted, and these represent the image of the Holy "Skarl-like" drummer, which is the Imperial Seal and Icon. There is one above the band, a medallion.
The faces are high forehead, small jawed. The hats, if not puffy hair (like the Eastern European Kazarian hats), are tallish, and contain light armaments...disguised mostly, but there is a moment when there is a salute, little doors open, and zippy, smoky, tiny missiles shoot out and fire through a chimney in roof.
Then they fly out, rocket boosters over their capes, which form a kind of funnel as the heat from the chopstick sized filaments make them snap into this funnel shape...this funnel shape gets tighter to lift, then relaxes to control flow and motion. Not that it really needs to match up!
Each costume also changes into the map of the sky map, like a inviso effect but not too rigorous.
The smoke and rocket remain visible...though the cape now has that texture and when seen from teh side only the heat signature of the rocket and the smoke are visible...the little filaments are obscured.
Out they fly, the musicians left behind have stopped playing and watch. The Percussionist, the piano player, the oboe and flute player.
Outside, a battle wages. Explosions, smoke, can be 2-diminsionable...perhaps a drigible or two passes by in some incidental out the window view.
The Emperor and retinue are not present.
APPENDIX
Colonialism can be termed as arising from the desperation to keep producing in a land of infinite space.
So, over the history of pre globalism, there is no thought of waste wandering across vast wilderness.
Thats a very long time and so being keeps the signifigance of digital globalism, or global digitalism, or DIGIGLOBULAR EMISSION, another good name for a ship.
HOMONCULOUS NEBULA. (An Airship, a Vogon like space ship, or a fanciful Song Dynasty Imperial Junk: back swooped deck.
