Acting and Audience: Dramatic Impetus and Emotive Context: Undercover Grandma Animation Prototype 4 – Final

Here is the final prototype for the Undercover Grandam Animation:

As you can see I have finished the body of the thug/criminal but the actual animation of the undercover grandma’s legs still needs work because they are still quite glitches so I will eventually fix that. The other scenes have all been developed that is actually what you see at the end of the last animated character interacts due to the fact it helped me develop the animation so I could get it to work better. There is a quite a bit of dramatic impetus and emotive context in this because of the misleading of the undercover grandma herself been a weak old women and I have managed to do this for most of the animation especial with her leg movements and movable luggage even if it does glitch a lot. The emotive context make you actually feel quiet sorry for the old lady but at the same time quite curious about her nature and why she is approaching the thug or mysterious person. I am ending this animation due to the fact that the dead line is up soon and I cannot finish this in time unfortunately but I will try to come back to eventually and finish it for my own personal enjoyment, even though I have enjoyed this project very much.

Acting and Audience: Dramatic Impetus and Emotive Context: Undercover Grandma Animation Prototype 2

Here is the second prototype for the Undercover Grandma:

As you can see I have fixed the glitch and this has now allowed me to advance with this scene and show the undercover grandma to be looking around curiously quite successfully and the animation looks fairly decent for once, compare to some of my other works. The basket she carts around with her now successfully pulls up to the bench now, which she is supposed to sit on but I haven’t done that yet since I was supposed to get the head working properly. I have also extended the scenes and so now their are more environment later on for the story as the animation continues. The legs still need work especially when granny goes to get up and approach what is their of the thug that I have built so far, so I will need to fix those for the new up date on the next prototype.

Acting and Audience: Dramatic Impetus and Emotive Context: Undercover Grandma Animation Prototype 1

Here is the first prototype test for the undercover grandma:

As you can see I have put the leg movement research to good use and made the undercover grandma’s appearance extremely believable with the legs movements which shows she is dragging her feet giving the impression that she is quite old which makes the audience to believe what I want to and it has with the tests when I showed my target audience. The only problems with this is her close up glitched and went on for the rest of the animation until the very end, I will figure out what happened before the next test and fix it and the leg movements might need at bit more work.

Acting and Audience: Dramatic Impetus and Emotive Context: Undercover Grandma Animatic 2 – Final

Here is the final Anamatic for this project:

Straight away you can tell this one is the better one out of the two the story ending makes more sense and the story is better paced. It is also a lot easier to understand which characters are which e.g. the thugs/criminals and the story is really shocking when the Granny reveals she is an uncover officer of the law, so it works well and presents a decent dramatic impetus and emotive context especially with shock of the grandma’s job.

Acting and Audience: Dramatic Impetus and Emotive Context: Undercover Grandma Animatic 1

Here is the first animatic for the Undercover Grandma:

This was supposed to be the final storyboard animated into an animatic to display how well the story would work out in a animated form, unfortunately I accidentally did the wrong storyboard. There is a bright side to this at least I got to see how my old version of the animation would have worked out in the end and what I can say is it would have worked for most of the animation but not at the end, it started to lack something hopefully the final storyboard animatic will prove to be better.

Acting and Audience: Dramatic Impetus and Emotive Context Research 7 Recorded Clips

Here are some of the recording I took for my dramatic impetus and Emotive Context:

These recordings where all taken so that I could study how the walking of different people shows dramatic impetus and emotive context. All this clips show a wide range of this people who walk with limps suggest that they have sustained quite an injury either from a sports accident or they fought in a war or just from old age. This carets a motion often to feel sorry for the character who is limping. On the other hand ones who walks quite quickly suggest that they are very healthy and this brings a smile or even a laugh to the face of those who see it especially if they are children.

Acting and Audience: Dramatic Impetus and Emotive Context Research 6 Sound

This section of my research will focus of the music and sound tracks that are used in visual media and how this influences the Dramatic Impetus and Emotive Context:

Halo:

Halo is one of the biggest game franchises in the gaming world and is considered one of the pioneers in futuristic shooters. What also makes the game extremely popular is effective use of the sound track throughout the game and it’s levels, like so:

While this song has a slow opening to it, it actually reveals quite a lot about the game it’s self for example the game also has a standard shooter/war feel to it at the beginning which is why the song has quite a slow feel to it but once the player delves deeper into the game the songs pace picks up. Once the song reaches it’s own dramatic point in the middle so does the game where it reveals that the entire planet they where one is a home/prison to a dead parasite which then leads to a dramatic escape from it in order to survive. What makes this interesting as a dramatic impetus and emotive context moment is that not only does the song describe the entire story to the player without them realizing but it is also used on the last level to build up the stress and excitement as well as how important it is to survive this level.

 

Acting and Audience: Dramatic Impetus and Emotive Context Research 4 Brief Response

1A – You are to spend some time outside the college building watching and making visual notes on members of the public interacting in Queens Gardens.

These sketches are my response to the brief that was set each one of these drawings is a sketch of someone that I saw in Queen’s Gardens and a few people I drew on the train home. The tree was drawn because it in its self is a form of dramatic impetus mainly because it reveals the area is a forest or park based environment and this sets the feel of the environment in the future. Most of the dramatic impetus and the emotive context comes from the different actions of each characters for example the old man on the bottom left is rubbing his hands while sat on the train. This could mean several things one he is cold and due to his old age can’t handle the cold as well as he use too or two he is extremely nervous about meeting someone may a son or granddaughter. Just with him rubbing his hands not only builds ups suspense but it also creates tension for the target audience as well who don’t know whats going to happen.

1B – Following making your observations of people and their interactions in Queens Gardens – draw up a storyboard of nine frames, basing a small fictional incident on the characters you observed there. In addition provide some detailed drawings of your main character/s (in particular, consider the “performance” of these characters, what idiosyncratic physical movements do they have, from their unique walk, to there gestures* and facial expressions) along with two possible treatments of the backgrounds. You may need to go back to Queens Gardens to make further observational drawings.

I have already responded to this part of the brief with the development of the undercover grandma animation project who was derived from the earlier brief and I have carried on using this as my main project fro this section of the course.

Acting and Audience: Dramatic Impetus and Emotive Context Research 3 Brief

BRIEF 1 – Character Research from Observation

1A – You are to spend some time outside the college building watching and making visual notes on members of the public interacting in Queens Gardens.

1B – Following making your observations of people and their interactions in Queens Gardens – draw up a storyboard of nine frames, basing a small fictional incident on the characters you observed there. In addition provide some detailed drawings of your main character/s (in particular, consider the “performance” of these characters, what idiosyncratic physical movements do they have, from their unique walk, to there gestures* and facial expressions) along with two possible treatments of the backgrounds. You may need to go back to Queens Gardens to make further observational drawings.

Acting and Audience: Dramatic Impetus and Emotive Context Research 2

Here is the next section of my Dramatic Impetus and Emotive Context Research:

The Cobbler:

The Cobbler is a Adam Sandler film that is based on the old business of Cobblers, Sandler plays a Cobbler who’s family has been blessed with a magical sole repair machine but doesn’t know until his own model gets damaged. Once he starts to realizes that his families old machine makes the shoes it repairs magical, allowing him to take on the appearance of the original owners, he starts to use them for his own personal gain and eventually to help others. One of the strongest example of dramatic impetus and emotive context in this film is actually when Sandler puts on his customers shoes, they use his red scarf to indicate which person Sandler actually is during the film as you can see within this clip. This is used constantly throughout the film which is handy especially when Sandler gets into fights with certain character who he has repair shoes for. This is used to create humor within the film by using not only Sandler’s curiosity to feel what it’s like it is in another persons shoes but also using humor to between exactly the same character. The film also uses music to indicate dramatic impetus and emotive context, the music reveals not only Sandler’s family with a Jewish theme beat, which reveals his family has a Jewish history but it also has an up beat tune to it revealing Sandler’s mischievous side in the film.

X-Men Apocalypse:

X-Men Apocalypse is the last X-Men First Class Cast film. Why I chose this trailer of the film is because trailers are a excellent example of dramatic impetus and emotive context. The reason behind this is the directors of the film choose which scenes and sound effects in the film are best to draw the attention of the target audience in with when they put the clip together. This clip out of all the trailers for X-Men Apocalypse so far is the best example due to the fact that it shows so much dramatic content from the film but still doesn’t reveal the entire film to audience. For example one of the most dramatic parts in the trailer is near the very end where you have Mystique asking the young X-Men team specifically Cyclops if they are all right and how did they escape. This is quite a dramatic moment due to the fact that the worried expression and well as shock on Mystique’s face shows how much she cares for her friends students and the look of relief on Cyclops’s and the rest of the X-Men’s faces shows they are relieved to see her. The dramatic moment is deepened even more when Cyclops replies that they had a little help and the scene changes to reveal a hand sprouting three blades. Not only does the suspense suddenly build up for Cyclops comment but the sudden appearance of that had suggest one of the most popular X-men in the franchise which is Wolverine, it draws in the target audience and the music during that sequence makes the animation appear even more dramatic.