Revised animations

Revisions to the animations include (front end)
zooming into map (instead of cutting to larger maps)
inclusion of a new map 1900 ordnance survey map of Burton On Trent
Including opaque red circle to show the 'location' of Ken's house
New title 'Legacy' using transcription convention
Narrator's speech shows a different version of transcription convention 'DT1' (updated) and referencing relates to context file 5 (Du Bois). This is show in a red hue to as not to detract from the text legibility.

Revisions to end credits include:
black background and letterpress texture
red and black text typewrites onto the screen
garden audio
out-takes of Ken speech can be heard in the background

Areas to work on, checking fades and cuts, double checking synchronization of audio and typography (particularly the narrator).

Transcription convention

Reviewing the work of Du Bois on 'Transcription convention', I have amended the narrator's text according to Du Bois 'DT1' Transcription symbols. This information came from the University of California, Santa Barbara, Linguistic Society of America, 2006.

The reason for selecting this version as opposed to 'DT2' or 'CA'(for more details, please refer to context file 6, post it note at back of the file) is that I wanted to select the oldest version of transcription to match the tone of the narrative, for example to express that the manner in which the voice comes across is happy, in DT1 this would be shown: in DT2 it would be depicted <:-)> with a smiley face, this is not in character with the animation. Where possible my self-imposed rule is to revert to typography (not punctuation) and typefaces to express intonation where possible.

The use of colour within the transcription convention application has also been revised. Previously the narrator's voice was shown using white. The transcription symbols are now depicted in dark red so that the letters are legible and the symbols do not 'compete'. Creating the end punctuation has remained in white otherwise the meaning of the narrative begins to break down.

Reflection on Ken’s reaction to animation

On Weds 26th May I visited Ken (with my father as a witness) to show Ken the recent animation of his speech and to ask for written consent to show the work publically. It was a strange experience. Firstly, Ken appeared to be generally confused (having already met my father) he wasn’t sure who he was, secondly as we started to show the animation, Ken couldn’t remember actually recording the work with me (until half way through).

I spent some time explaining to Ken that I had shown an old ordnance survey map of Burton so that ken’s location would remain anonymous. Ken wasn’t at all bothered by the content, was distracted by the TV and wanted to chat to my father about past times. He recognised the Bambi figures and wanted to know who’s doors I had photographed, and asked me who’s door is number 5,4,3?

As the tutors predicted, Ken was baffled by the animation, not particularly curious but was impressed by the production saying I must have a ‘lot of brains in there’!
He wanted to know how it had been created but glazed over quickly as I tried
to explain.

When asked repeatedly if there were any problems or parts of the animation Ken would like me to take out or alter, he said no it was fine as it was and signed the consent form. My father witnessed and also signed the forms.

It has been over a year since I had recorded the audio and photographic data with Ken, so I was interested to see if any changes had occurred in his surroundings.
I observed that a few alterations had taken place (some for the better) for instance a calendar with photography was on the wall (where the bin schedule had previously been) also a ‘Girls Aloud’ clock adorned the mantle piece (a change for the worse but light relief for Ken!) The walls were freshly painted and Ken seemed to be in good spirits although he was repeating himself quite a lot. I left the property with the intention of keeping a physical distance but to maintain respectable contact with Ken. I will send him a card on his Birthday (interestingly, he mentioned the date a lot in the evening and seemed to be slightly sparring with my father over their respective ages) I suspect he will only receive a few cards (19th September).

I always find meeting with Ken bitter sweet, he reminds me of family members (heavy smokers) I have lost and makes me grateful for the life and health I have now. One thing I did notice was how Ken’s breathing had deteriorated and was rattling and not clear (just like my late Grandfather).

Changes to front end

The beginning sequence, showing the map of Burton-On-Trent appeared, on reflection, to judder and cut too quickly and ominously from one scale of map to the next and the final shot with the red dot is too rapid for the viewer to comprehend.

I have altered this sequence and simplified it. A large map is zoomed into, at the same time an opaque red dot identifies the house of interest which quickly fades into the door countdown sequence.

Another change has been to add in a more prominent title 'Legacy' to the beginning, this is to mirror the credits where the title appears again but smaller.

End credits

There are two versions for the final end credits to the animation. One shows 'bambi' who disappears into a small dot (similar to old TV screen dot diminishing). The second title shows a simpler layout with a darker background, deeper red text and letterpress type 'tea eta' in the background.

The second test seems more authentic and effective.

10th May 2009-05-20 Work reflections
New sections of the animation include ‘carry on’ repeating and overlapping this is based on Brownjohn expressing the meaning through type and concrete poetry. The effect is simple but memorable. Repetitiveness is also expressed through the tea-cup stains appearing over and over and reducing.

Including a local map to the work at the beginning of the sequence helps to establish a sense of place and lack of global awareness. The map was chosen for its age, simplicity, view of small ‘village life, which is based mainly on houses and gardens (back to back) and the feeling of enclosed small spaces. I plan to show a path or radius of where Ken was born and moved to and how this isn’t very diverse or radical.

Starting a new part of the submission, I created visual language boards for Tom and Charlie’s ‘beach speech’. Charlie’s speech is more formal, more grown up and Tom’s is more expressive and visual, using the medium of origami and newspaper print (connected to English seaside, fish and chips etc.) The sequence will be colourful, bright, lively and more spontaneous than the Ken series.

20th May 2009-05-20
Tutorial feedback with Jon Hamilton and Rob Newton, NTU

ANIMATION FEEDBACK
The tutorial discussion included amends, technical issues and improvements
to the work, debate over beach storyboard concepts. Ethics and including Ken’s permission for showing the work was also discussed.
Areas to work on:

Map – create own version or use authentic map, perhaps collage information to show key areas (one school, one pub, one church, small location). I could represent parochial views, global map morphs into village map. A small opaque radius showing Ken’s patch will help localize the animation. Small opaque radius glows and gets smaller as you enter ‘Ken’s world.

Door 1 – delete (it isn’t needed, stay on door 2 for longer)

Door 4 – sharpen

Strange fade after friends and family (jumps visually, does not blend).
WisDom can appear in two halves, ‘wis’ arrives vertically first, it is too fast at the moment.

Good and Behave, one word could knock the other one out of the way, flip down?
Overall patina and texture of Kings Bromley sign is too heavy and needs to be lighter, the effect is too complex and dour.

Leave the neighbourhood watch sign up for longer (bring it back on after ‘yeah’) there is a blank space happening.

Add in end titles, who you are who Ken is, how it was created, fade end shot off and show end by changing time-code from black to white to fade.

Show work to Ken and ask for written permission to show the work. This is very important in terms of ethics. Ask for this on behalf of the University.

Consider animating NWS sticker into waiting symbol (whirring around as we wait for Ken to speak again).

STORYBOARD FEEDBACK (beach)
- The countdown sequence works well keep this light and bright.
- Show how the children’s voices differ through visual language and where do
they overlap? Consider creating Charlie and Tom’s handwriting as digital fonts
- Perhaps show older child’s voice using school related objects, sandwich box etc.
- Make two clear boards for each child’s speeches and personalities
- Review how Barnbrook shows two different voices
- Be more imaginative and playful for the storyboards, as if it is a pitch for funding
- Consider letting audience listen to tape recording of their voices on a kid’s
tape deck?

Inclusion of maps

After peer feedback with a fellow colleague, we discussed the importance of 'place' and allowing the scene setting becoming broad and more prominent.

My colleague was curious about Ken, wanted to know more about his habits and was surprised by his lack of ambition and travel experiences. In his 60+ years Ken has only really stayed within the perimeter of a 10 mile radius. We discussed the inclusion of a map to help relay more about his life and to show how the speech ' blindfolded' could be mirrored in the animation. The stop frame animation was well received, more context for Ken's personality was sought. Reflecting on the work with my colleague, it was clear to me that two of the 'Yeah' references (next to the NWS) need to be scaled up as Ken practically shouts this.

As regards the completion of the written part of the submission, I am currently reviewing 'Intonation' Bolinger, D 1972 and instead of 1,000 words based on the sketchbooks I am keen to submit an essay to express the parallels and differences between spoken language and typography. I am recognising the similarities between transcription convention and typographic marks. I am also aware of the intricacies of audio and the selection of typefaces to fit the purpose and I know there is more to be researched in this area.

Tests (behave and be good)

There are 6 tests produced to show the restriction of Ken's thinking.Using a production line effect the type emerges. The order of the text appearing makes sense when you read it, however I have altered the word order in test 5 and 6 to line up with the speech.

In the first tests the background utilizes instruction manual graphics, this was for my house alarm system. The alarm make was deleted and 'life instructions' were added.

The text has changed from old typewriter (1942 report) to TAS Letterpress, the digital font I created using letterpress.

The final tests are created with Ken's shield as a backdrop, this is to imply law and order and has subtle reference to Ken's army background and also provides the viewer with visual clues to Ken's age and lifestyle.

Latest animation

Changes to the animation include the following:

1 Including wood knock sound effects as part of the countdown sequence
2 Countdown sequence has straight cuts, not fades
3'Just be Good and behave yourself' scrolls on like a production line onto a large shield (heraldic references, law and order)
4 Audio of tea stirring has been included to communicate sugar dissolving in the mug
5 Tea stain background is added to the word 'really'
6 Paper scrunched up then opened to back the word 'legacy'
7 Wisdom is shown using a lightbulb as metaphor for intelligence and glows as the word is pronounced
8 'Carry on' is enlarged then reduces in perspective with Ken's dustbin Council schedule as a calendar fades in the background

Audio tests

9.5.09

Audio tests.
Reducing audio levels for the narrator as suggested in the tutorial (6.5.09) has been problematic for several reasons. Primarily, the conversation often overlaps between the two speakers and when the voice is considerably reduced a strange 'on /off' fake effect comes across.It highlights the narrator even more, similar to small type in an open space, you tend to lean in closer to listen. This was not the result I was aiming for.

I have concluded that I will reduce the narrator's speech in two places only, right at the beginning (before Ken speaks) and during periods of the narrator's laughter. I have learned (again) the importance of audio and would use two microphones on the two speakers if I produce further animations of this kind.

The countdown sequence has been altered to straight cuts of doors reading from 5 down to one, fades have been deleted leaving a cleaner less confusing result.

Inclusion of birdsong and tea stirring will follow in the next animation.


6.5.09 Reflective writing May 2009
Summary of activity: (3.00pm)
Reflecting on the tutorial with Rob Newton and Jon Hamilton

Overall summary:
‘Developing well (nearly there), cut out narrator’s audio where possible, bring in ‘rough edges’ and ‘rawness’ to enliven the visual language.’

Areas of strength
Visual clues linking to Ken’s personality are reflected within the photographs, particularly the image used to denote ‘friends’ using Welsh lady.

Method (within the animation) evaluation forms were approved in principal, visual references will be needed, to aid comprehension. Can this be simplified for the poster concepts?

Areas to develop
A major decision to alter the audio came about within the tutorial. By reducing the audio levels on the narrator’s voice greater emphasis will be placed on the speaker, this will also link in more with the visual language of the narrator’s voice appearing to be minimalistic and neutral.
It was suggested that informal ‘filling’ moments were removed or reduced, however the narrative still needs to make sense.

Opening sequence, instead of fades use direct cuts for the door sequence. If possible align the door numbers in terms of position and scale.

Recorder sequence, bring back ‘I distortion’ animation. Try photocopying recorder image onto brown wrapping paper and bringing back raw/rough edges to the work. Show larger shot of recorder.

Be more dramatic with Ken’s text, larger and give the work more punch. For example ‘wisdom’ could be in the shape of a question mark, or be open then fade (as he doesn’t have a clue).
The type can afford to be more disjointed (Lennon animation).

Be good and behave yourself needs to appear in a more formal grid, the fireplace sequence is out of place and dominates the work. GOOD and BEHAVE can interchange on the animation, use of quotation marks and type symbols such as {[(can be used to demonstrate boundaries in this sequence. Try the shield image to enforce law and order (heraldic references).

Sequence after large letterpress T is too complex, strip it back and simplify.

Allow Ken’s type to stay on for longer (wisdom)

Simplify workflow, use pre-comp folders to move sections out, this will help rendering and organisation generally.

Next session date: Weds 20th May 2pm, NTU

Letterpress typeface

I created a new typeface to enable quicker production of animation, however the end result has lost detail particularly of texture, so I may well resort to printing by hand. The following pdfs show my original submission to a type converting website and the end results.

The exercise of creating alphabet has reminded me of the reason why I selected letterpress in the first place and the importance of observation and attention to detail. I am interested in the pursuit of subtlety and inference rather than over emphatic responses. The instant I replaced original letterpress or wooden type blocks with the new letterpress digitised fonts, my response to the work was negative because the words looked synthetic and fake. Having read a book about human perception and 'thin slicing', human intuition will not be easily foiled.

I have decided to use the digitised letterpress type as a 'blocking in' exercise that will be replaced.