Fun! Escape! Independence! All the while, creating a sense of safety, reliability and value, drove our campaign for a much needed shuttle from St. George to Brian Head resort.
As shown far below, we wanted an outdoorsy, wintery appeal. We wanted something that would appeal to youths ages 12-21, and their parents, who would likely be financing their adventures.
I got to create the bus wrap. The bus isn't just an ancillary product in the campaign. It is the product of the campaign! The objective was to create something that would visually knock your socks off were you to encounter it on the road.
This crude representation, actually depicts what would be "larger than life" photos of engaged sledders.
The sled is tilted slightly to show movement, and all of the people in the group are experiencing either fear, joy or bewilderment---just like when you really sled!
We chose wintery colors patterned after Frozen, and "borrowed" the Brian Head logo. Mike found an excellent font for the SLED, and I chose to post it in white so it would stand out more.
As far a Gestalt principles go, I felt the boarder on the main logo looked like a bird (pragnanz), so I (don't tell my team), used a different design on the bus. Besides that, I felt it fit better in the available space.
In reality, I would have put all the social media information on the bus, but was trying to keep the visual simple for the class presentation.
I carefully proportioned the sled to fit the vector on our design page. An extracted image fit perfectly on the bus for design manipulation. This was important when we further discussed using the pencil drawn image to replace the imitation "photo" of sledders for class presentation.
It was a total riot creating this with my fantastic team, and I can't wait to go skiing/snowboarding with my family in a few weeks. It's always fabulous to work on a product you feel passionate about!!!!
Emily is 40, and a wife and a mother of 5 kids. She is a stay at home mom who lives in Ivins, Utah. Her oldest son is 14 years old and is very shy and has few friends. He has really loved the snow since a very young age. She got the direct mail piece and thought it would be the perfect opportunity to let him go with his friends to have a little fun over the holiday break. She and her husband have talked and it would be very hard to take the family skiing when they have such young kids at the house. She is worried that her son won’t get out during the holiday break and this will be something that he would love to do.
Kaitlyn is 18, and a freshman on scholarship at Dixie State University, majoring in business. She is from Salt Lake County and has a deep passion for skiing and snowboarding. She had a car in high school but it recently broke down. Because of school and work she isn’t able to go home very often, except for on holidays. She would love to have a way to go skiing or snowboarding on the weekends when she isn’t working or else she would not get the opportunity.
Barry is 12, and a 7th grader at Fossil Ridge Intermediate School located in St. George, Utah. He hates that all his friends have been snowboarding before and he has not. They all go with their older siblings and Barry's parents don't want him going with his friends' crazy older brothers. He really wants to go but his parents work full time and he is the oldest out of two kids. He wants to have fun while on Christmas break but his parents probably won't have a lot of time to take him and his brother.
Communication Objectives:
To create fun, escape and independence for youth. For parents to have a feeling of safety, reliability and a good value.
Demographic:
Youth/Young Adults (ages 12-21) and their parents.
Our group chose the ending scene from the 2011 movie, Hugo. This scene uses the steady cam filming technique, and we thought it was very interesting to watch.
Carly- Director: My assigned role was director, and this movie was directed and co-produced by Martin Scorsese. Looking at this scene from the point of view of the director, I found it amazing how much work had to go into this ending scene. In film-making, the director is the one who visualizes the script and makes sure that the visualization is executed through production design, artistic elements, and through selecting the talent. The director is the main person who works with the talent, and this is to ensure that they can execute his/her visualization of the script.
For this scene, Martin Scorsese had to work with all of the talent and make sure that they were doing what they were supposed to be doing when the steady cam came around to them. All the talent had to be in character during the whole steady cam procession.
Another important part of this scene was the wardrobe, hair and makeup. Scorsese had to ensure that everything looked the way he wanted it to in order to portray that 1930's Paris vibe. The artistic elements of this scene communicated cultural context very well. The wardrobe as well as the way the talent behaved during this scene really transported the viewers to 1930's Paris.
When analyzing this scene it was very easy to see how all of these different responsibilities are intertwined and have to work together to make a movie possible
Jenilee- Art Director: In our group I chose to be the art director, who foresees a lot when it comes to any film production. They are responsible for visual style and images. They create the overall design of a project and direct others who develop artwork and layouts. They focus on light/color: color patterns, hues, soft and hard. They also focus on the interior and exterior of the set, costume, hair makeup and many more responsibilities.
During pre-production, they work on overseeing the preparation of the first sets required and keep tight control on the budget. They are also responsible for commissioning all special effects, hiring vehicles and organizing the casting of all animals. During the film, art directors continue to oversee the construction, dressing and demolishing the remaining sets. Post-production they must verify all sets are struck and locations cleared; also that art department bills are paid.
Principles of Contrast:
Color- There is a lot going on with the lighting that makes it cozy but intriguing. The hues (spectrum of color) are rich and warm, to give to the feeling that it was indeed in the 1930’s. They actually watched films of the Lumiere brothers and silent films of the 20’s to study the period’s tinting and toning. They also ended the film with the robot and everything was dark in the room and the sky was dark outside.
Texture- I noticed different areas of texture in all different aspects. The first scene of the outside building is rough and not pleasing but then when you enter the window, it is smooth when it comes to the walls and flooring. There is texture differences in their costumes and some ladies are wearing silk dresses and others are not.
Costumes- The men were in either suits or tuxedos and ladies in rich toned dresses. Since this is the last time to see all of these characters I like how their costumes are a little more fancy and dressier than what you would see them in throughout the rest of the film.
Gestalt Principles:
Law of Closure- This ending scene demonstrates this because even though it is not showing everything in the room, you still know it is there. This scene gives us as audience members a unique perspective because it is almost as if we were the guest that is walking around the party. I feel as if throughout the movie you are getting to know all of the people in the room and then you are able to be close with them at the party. Janet - Production Designer: The production designer is the big picture person. They are responsible for maintaining a consistent look throughout the film. They work closely with the director and director of photography.
Subordinate to them is the locations, art department and special effects division, among other things. Production design is shown in the last scene of Hugo, first by the camera nearing the building and seamlessly going through the window into the inner chamber. This first effect corresponds to other parts of the film that have an "other worldly," slight fantasy aspect to them. The seamless feeling carries throughout the steady cam operation as it winds and swirls methodically through the populated space.
The lighting is subdued and people are visiting and interacting pleasantly. The decorations, clothing, hair and makeup all effectively convey an early 20th century European environment. The use of plain colors, with smatterings of bright, mostly red tones draw attention to key characters. Finally, the moderately lit room containing the robot are cool, somber tones. This can represent the longing of a child for his parent, as carried out in the plot.
Hugo Cabret finally gets to be a child.
Design Elements Analysis:
Cultural context - the use of austere and standoffish personality types, typical for Northern Europe.
Figure ground relationships - many long shots that lead to close spaces.
Continuity - several wide angles that sweep you along a usually long path.
Color - distinct warm and cool tones in spaces to create a mood.
Light - "spotlighting" and silhouettes among many other effective uses.
Russell - Director of Photography: My job is the director of photography, this person is over the cameras and lighting. He is responsible for making sure that all the camera angles for the different shots are set and correct, also he makes sure that the lighting fits the shot. In the last scene of Hugo, this was shot using the steady cam, as to make you feel like you were following the main character around as well as any guests that were there. They had to use camera lenses that open up enough to let the scene be seen, it was all done in a subdued lighting,
There are many people interacting with each other, the girl is telling about the book and about the main character, you see people dancing, then the final shot moves in on the robot in an outer room all by himself.
Setting up a shot like these takes an awful lot of work, you need to measure from the focal point on the camera to where the actor is placed, and keep notes so that if you need to reshoot it you have a reference to go back to, you need to know the aperture setting on the lense, as well as the shutter speed, and the ISO setting so the shot isn’t underexposed or overexposed. You have to measure the whole set making sure as to where everything is placed, which is usually marked with gaffers tape, where the stop points are for the actors, also marked with a piece of tape, chalk mark, an X, or even a T.
Being a director of photography is a lot of responsibility involved, just to make things all maintain continuity, that way the movie will flow, and the audience will be held spellbound, and mesmerized.
This all take all takes place in 1930’s Paris, where an orphaned boy who lives in the walls of a train station is wrapped in a mystery involving his late father and an automaton.
Overall How it was Filmed: The steady cam established the law of continuity because this ending scene was all filmed in one shot, and it goes through and you see all of the major characters in the movie and ends with the robot that brought Hugo and his father together. This way of filming also establishes a figure/ground relationship because the way the camera goes around, you see and hear what the actors immediately in front of the camera are saying as well as the people in the background who are also in the room. Another thing we noticed was the contrast in color- throughout the scene you see the important characters are all wearing bold and bright colors compared to those in the scene who were not major characters in the movie.
Thirds: most interesting points at top two "third" intersections.
Diagonals: the extreme angle of the stair railing is far more interesting than a side view would be.
Vectors: lighter frame on the lower right points to the stair railing, which then leads the eye through the other points of interest.
Diagonals: the photo angle of the railing pleasantly sweeps you through the frame ...
Vectors: courthouse gable visually leads you to the tree, flag and clouds. The lower elements lead you back upward toward the gable.
Thirds. there is a little bit of tension in this view, as the top left cluster of branches is slightly off the 'third" intersection. It is exacerbated by the imposing left trunk being a little too far to the right as well. Gnarly, bone-bleached trunks make for good tension shots anyway!
If you evaluate this landscaping using the following design concepts,
you end up with a loss:
movement
harmony
variety
balance
proportion
pattern
While a formal balance can be effective, this design has no flow. It ignores harmony and movement by placing two similarly sized but different blobs side by side. Overall the landscape lacks creative variety. Often odd numbers of objects harmonize visually. In this case the two masses of equal size destroy the sense of proportion and movement.
This landscaping, while lacking in many ways, at least has a more pleasant flow and greater variety. The pattern is more interesting and varied.
A different but similar example to the first one of how even numbered same sized objects placed side by side create a feeling of stasis, rather than flow.
It took about 8 hours to render this picture. Referencing from a rough newspaper photo (which included a rider), I etched out from memory the glorious lines, volume and power contained in one of nature's finest creatures, a horse!
Design-wise there doesn't seem to be much going on in the image; just an animal. But regardless of the background, or lack of it, there is a great deal going on with the horse that makes it jump off the page in nearly 3-D! This was created through the rampant use of high- and low-lighting. Actually, there are no highlights, only the absence of shadows that make the animal appear shiny. Those "highlights" also make certain structures seem rounded or prominent, such as the belly and flank.
One thing I love is the rich textures seen, especially in the tail. I used different artists' pencils and various types of pressure when drawing to gain the various finishes throughout the work.
To me a horse represents freedom and power. And you can't forget beauty, as seen in the well attended Docutah film, "Herd in Iceland." These beings create a natural draw to humans. Who doesn't love to see the grace of a horse charging across the landscape? I think if I wanted to make films that would always be popular, I'd make a horse film!
Culturally, horses have a long and close history with humans. How many little girls have lost sleep dreaming of an equine companion? How many boys have wanted to ride like the wind and conquer? How many nations have risen and fallen with the aid of these mighty, stunning and capable creatures? We all seem to have a connection with our equine companions. Even if that connection is not emotional, at minimum they seem to catch our eye!
What my daughter and I didn't know on our recent drive from Wisconsin to Utah, is that this spectacular display of color and light was leading us directly to the edge of hell!
Jetting down the road at 80 mph I snapped as many photos of this stunning monstrosity as possible in hopes that I could lock forever in my mind what I knew a camera could not adequately capture.
Minutes after a burst of brilliant light from the mouth of the behemoth, we heard radio reports of a severe storm warning ... you know, the type that interrupts your favorite programming. ...
Exactly at the mile marker predicted in the weather report, our vehicle began to be slammed with huge hail pellets. If there could be such a condition as "white out" with hail, I think we reached it. Not because there was so much hail, but because of the accompanying wind, rain and who knows what pounding against us. Blinded by the watery chaos we headed to the nearest approximate freeway exit.
Soon we found ourselves joined by several other vehicles at a gas station and chose the downwind side to wait out the fury of the tempest.
After just minutes the violent downpour turned to a soothing rain, then that too disappeared. As we rejoined our journey to the West, I found myself awestruck and totally thankful I could experience such a powerful expression of Nature. I hope I never recover!
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