George Clarke's Amazing Spaces Title Sequence

Matt Melrose

TV Production Company: LeafStorm (London Based)

I really like George Clarke, I think he's a really lovely genuine guy and is so charismatic in his TV Show. Some of the people he meets and cover's the conversion of there amazing space, are a bit weird but he's always nice to them. I really like the title sequence, especially with the combination of animation and live film. I think it's successful because there's underlying traits in each sequence that bring them together. Each shot is split into three with the depth of field, the far ground and foreground are both blurry and emphasises the detail of the 3D animation. I think there is great success in the way the shot is close up whilst the animation builds the vehicle/boat and then zooms out to set the scene.

3D animation always amazes me because I have no clue about that side of animation. So here's one I enjoyed and I hope you did too.

Copyright

©

Type Alt+G (For Macs) 

Type Ctrl+Alt+C (For PCs).

Copyright gives the owner, creator or author, publisher the right to control the way that their material can be used. All works in the UK however will automatically be covered by the Copyright Design and UK Patents Act of 1998. You should not copy, adapt, distribute (Electronically or otherwise), publicly transmit (Including on demand, live or broadcast), publicly perform, rent, lend without prior or express permission. Copyright can be transferred, or sold to another party. Buying a game, or a painting does not mean that you own the copyright from then on. Those rights need to be LEGALLYtransferred. UK copyright is however automatic with no form of manual registering required. Copyright duration vary, for literary and dramatic, artistic and photographic works, it lasts for the owner's life time + 70 years, while sound recordings last for 70 years (Which Cliff Richard had managed to raise up from 50 in 2011).

To get permission, you can contact the owner directly (If known), or contact the organization or company who represents them (Eg, Record company or in the PRS (Performing Rights Society) for music). You don't always have to seek permission to use work, but you obviously should if it's for commercial purposes. To claim copyright over something, for those within the UK, it is automatic. But for works that are displayed internationally (For example a website), it is advised that you mark your website or your work with ©YourName and Year of Publication. To prove that you originated a piece of work, if it happens to be a design or piece of artwork, leave or deposit it with a bank or solicitor. Post it to yourself with a date stamp on it, at the very least it proves that it existed at a particular point in time. International Copyright Laws are often different to the UK, so mark up the footer of your webpages with the ©YourName and Year of Publication. Any legal action would take place in the country where the infringement took place. Finally, you should also be aware of some of the terms and conditions of social networking and image hosting sites as they may claim ownership over anything you may do. This may all seem really troublesome and disheartening, but don’t let this prevent you from sharing your work. This is a complex area in law and if in doubt seek advice from a professional in this area.

Alternatives to Copyright

Copyleft is a form of licensing and can be use to maintain copyright conditions for works such as computer software, documents and art. An author may give every person who receives a copy of a work permission to reproduce, adapt or distribute it and require that any resulting copies or adaptations are also bound by the same licensing agreement. These licenses (for software) require that information necessary for reproducing and modifying the work must be made available to recipients of the executable. The source code files will usually contain a copy of the license terms and acknowledge the author(s). They are a novel use of existing copyright law to ensure a work remains freely available. Creative Commons was founded in 2001 by Lawrence Lessig, creative commons is a non-profit organisation that provides a legal framework to allow people to share, remix, reuse legally. In short, these licenses provide a simple, standardized alternative to the "All Rights Reserved" paradigm of traditional copyright.

Unlike the "All Rights Reserved" license, there are different layers or levels of license the the owner can apply:

The Attribution By CC By License lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation. This is the most accommodating of licenses offered. Recommended for maximum dissemination and use of licensed materials. The Attribution ShareAlike License lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms. This license is often compared to “copyleft” free and open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use. The Attribution - NoDerivs license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to you. The Attribution - NonCommercial license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they do not have to license their derivative works on the same terms. The Attribution - NonCommercial - ShareAlike license lets others remix, tweak, and build upon your work non-commericially, as long as they credit you and license their new creations under the identical terms.

And finally, the Attribution - NonCommercial - NoDerivs license is the most restrictive of the six main licenses, only allowing others to download your works and share them with others as long as they credit you, but they can’t change them in any way or use them commercially.

Effective Evaluation Writting

This document was written by Garry Barker for the BA(Hons) Elective students, there is much that you can take from this when you write your evaluations at the end of your own modules.

Reflective writing

Students are asked to reflect upon their experience and evaluate it. These evaluations are usually between 500 and 1000 words long. Students have asked if we can produce a model of what is good and bad practice. This is an attempt to do this, but it must be used very carefully. It is not to be used as a model to copy, only as a device or tool to lead students towards self-reflexion. There are many ways of expressing ideas and because this is designed as a teaching and learning tool it is by its very nature simplistic and crude.

Evaluation 1

This evaluation is descriptive and it contains little reflection. It is also rather short, 273 words, so would not count as a significant effort. (A minimum of 450 words is needed for a 500 word evaluation).

We were all told to collect objects before the course started and I picked some old dolls that my sister didn’t want anymore. I had to cast some shapes from the objects I had collected in plaster. I was fed up as it took all day as I didn’t mix the plaster correctly and had to do it all again and clean up all the dolls from the first attempt.

We then did another exercise while the plaster was left to harden, which consisted of pressing objects into clay, so that they left an impression. We then went on to pour plaster over these impressions and when dry we had a series of new forms. The next day we started building new objects out of combinations of the casts we made the day before. We used clay to hold the pieces together.

When I had one I liked, I had to make a new cast and this was hard work, as you had to make lots of small moulds to avoid undercuts. Once you had the idea, you could go on and make anything you wanted. I decided I liked the idea of a dolls face with legs coming out of its ears, so did that.

I don’t think the tutor liked my work and she was very critical of me not doing lots of variations. I didn’t agree with her opinion and still think the final piece is very good and my friends on the course agree. I was very pleased with the final result and thought I had done quite well. I’d like to do more of this in the future.

• The evaluation describes what happened, sometimes mentioning past experiences, sometimes anticipating the future but all in the context of an account of the event.
• There are some references to emotional reactions but no exploration of how these relate to behaviour.
• Ideas are taken up without questioning them or considering them in depth.
• The account is written only from one point of view. External information is mentioned but its impact on behaviour is not considered. One point is made at a time and ideas are not linked.

Evaluation 2

This evaluation is also descriptive but it shows much more evidence of reflection. (500 words long)

My jewellery elective involved having to use a lot of techniques that were introduced during the first few days and then I had to develop a body of work, using those techniques that were most appropriate to my ideas. The techniques introduced included, piercing and drawing metals, beating and hammering, soldering and brazing. We used mainly copper and a little brass as precious metals such as silver and gold were too expensive.

As well as being introduced to these techniques we had to keep a journal/sketchbook, in which we recorded the processes learnt and did drawings of how we could use these techniques to further our ideas. In support of this we were also asked to do some book research and to include examples of jewellery that we thought related to the way our own ideas were going. These examples also had to be annotated to show that we understood how the items were made. The tutor gave help with this as she was able to guess the techniques used just by looking at the photographs.

At first I couldn’t think about how to use the techniques learnt, but after looking at some photographs of modern jewellery, I realised that I didn’t have to be making rings or bracelets and that jewellery could just be seen as body adornment. Once I had this idea, I started to explore ideas for large scale pieces that could hang off the body and decided that I would use brazing and piercing techniques.

The brazing meant I could make larger pieces by joining different metal shapes together and the piercing meant that I could make joints that moved, as well as create decorative surfaces. I realised that the pieces I was making reminded me of the armour we had seen in the Royal Armouries and that people often use body adornment as a sort of ‘personality armour’, to protect them from emotional as well as physical harm. This helped me to think about what the decoration could be, and I developed a series of patterns based on smiling faces.

I’m not sure if the final piece worked that well and my smiling faces idea didn’t seem to fit with the final shape. But I think I learnt a lot from the process. In particular I learnt that ideas will come if you persist with something and that even if you think the final result isn’t working as well as it might, you can always go back and do it again. My sketchbook work was a bit of an afterthought and to be honest I did try and fill it out with photocopies as I hadn’t done much design work or drawings of what I was trying to think through. Perhaps if I had spent more time on this I would have realised that the smiley faces would not work and could have eliminated the idea before spending lots of time on it. On the whole I think it was an interesting elective and I have learnt a lot.

• There is description of the event, and where there are external ideas or information, the material is subjected to consideration and deliberation.
• The account shows some analysis.
• There is recognition of the worth of exploring motives for behaviour.
• There is willingness to be critical of action.
• Relevant and helpful detail is explored where it has value.
• There is recognition of the overall effect of the event on self.
• The account is written at one point in time. It does not, therefore, demonstrate the recognition that views can change with time and more reflection.
• The account does not indicate a recognition that frames of reference affect the manner in which we reflect at a given time.

Evaluation 3

This evaluation shows quite deep reflection, and it does incorporate a recognition that the frame of reference with which an event is viewed can change. (700 words)

This drawing elective has been very interesting. It has changed the way that I think about drawing and why I might consider using it. Before attending this elective I thought of drawing only as a tool for recording things and sort of thought you could either do it or you couldn’t. I’d never thought of myself as a good drawer and so rarely drew. The camera has always been far more important to me and I have developed a lot of ideas by using collages of existing images, both techniques allowing me to avoid an area I felt less confident in.

The tutor started the sessions by questioning us all about what we thought drawing was and set about challenging us to produce drawings that were not about copying or recording in conventional ways. At first it was hard and I thought the drawings I did do looked ‘childish’. However later on when we had ‘crits’ I started to realise I could be looking for other things and instead of trying to measure my drawings against an idea of whether or not they looked like the real thing, I could see if my drawing had ‘something to say’.

The tutor would often say, “What is this drawing telling us?” Once I got over the idea that a drawing could say something, I started to think through how a drawing communicated something. The way it was made seemed very important and why. On the third day I made a drawing with cellotape. I stuck lengths of it on various surfaces around the college and decided how long each piece of cellotape should be by devising a scale so that the relationships between each length of cellotape would be similar to those in the real world. All the pieces were then re-stuck into a drawing I had started to construct about my personal investigation of the corridors and rooms of the area of the college I was working in. The relationships set up between the ‘real’ size textures I had gathered and the scaled elements of the drawing eventually became the ‘entry point’ for a whole series of drawings that went on to explore these ideas. I found that several artists had used devices to transfer information from one surface to another and that these ideas could be traced back to Cubism and were present in contemporary art practices around such diverse areas as performance and video. It seems that drawing is now no longer just about copying things, but is a process in its own right that can be used to develop ideas and open out possibilities for thinking.

The final drawings I did were more like installations. I started to cut up the flat images and re-build them in the spaces that I initially worked in. This started to create a dialogue between the initial spaces, my first perceptions of them, my records and traces taken and the processes involved. As soon as I took the work back into the space, it opened out the possibility of re-reading what I had done again and of course I then had to take the work on another step, I started to take photographs, cut them up, drawing into them, add rubbings, re-build etc. only stopping when we were forced to vacate the room at the end of the elective. So what have I learnt? I now realise that any set of convictions you might have can be challenged and that once challenged if you open yourself out to new things, you can really feel as if you have moved on. However it does take confidence and when I first felt that my drawings looked ‘childish’ it was only because the tutor helped me to ‘see’ things differently that I persisted. My initial perception of myself as a failure could have been reinforced if she had just dismissed my efforts. I don’t think I’ve learnt any new techniques in drawing, which is what I expected to learn before taking this elective. However I do think I’ve learnt to think about things differently and perhaps I now see drawing more as a process rather than as a technique.

• Self-questioning is evident, (an ‘internal dialogue’ is set up at times) deliberating between different views of his/her own behaviour
• The student takes into account the views of others and weighs these against own judgements.
• The student recognises how prior experience, can interact with the development of own behaviour.
• There is clear evidence of being able to stand back from the experience, in order to evaluate it.
• There is evidence of learning from the experience.
• There is a recognition that a personal frame of reference can change with the reception of new information and the effect of time passing.
• There is an ability to review ideas.

It’s worth noting that you should avoid where possible also going over a word count. You have a +/- 10% allowance before staff consider penalties for short or excessive writing.

The three examples above are ‘adapted’ from evaluations accompanying electives work sent in for marking. Can I thank the anonymous students who wrote the originals from which I have extracted text for this handout?

Garry Barker

Much like the presentation the majority of these notes is self explanatory. The most important thing about writing an evaluation is to include self reflection in concise detail enough to meet the word limit but not too much detail you don't go overboard.

Storyboarding For Yoni

So for Yoni's dissertation project he had a script and knew his story but he had limited time to film it so wanted to have a really precise idea of what shots were needed to make sure the story is coherent. So we only did this storyboard in a couple of days and I think the main benefit for it was for Yoni to talk about how he was going to film each shot. We managed to work really well together as we were on the same thought process. Work on such a tight deadline meant spending more time talking about each shot and just getting down the essential details. Looking back I actually cringe at these storyboards because I know I can draw so much better than this, and actually they look really rubbish. So i'm going to spend more time drawing especially over summer, and the thing that annoys me the most is how the facial expressions look so similar so I might actually take some scenes from short plays and storyboard them too. I really want to improve my storyboard skills so I'll also spend sometime researching some more of them.

Nightmare on Presentation Street

The Tomb of the Jargon Makers

“Synergize your ROI by leveraging your cloud asset utilization to drive ARPU.” It may make you feel smart to say it, but it’s doubtful your audience will get it. Corporate Pig Latin and buzzword lingo kill your message. It’s the mummified opposite of a deliberate wordhack, a method used to carefully play with words to entice and intrigue.

Shock! Horror! The Incredible Shrinking Type

“You may not be able to read this in the back. Let me read it for you.”This trick will hurt you. Make the type you use on your slides big and legible. If you have a lot of detail that needs to fit on a page, put it on a document and print it out. Use the 8ft Rule to help you avoid this mistake.

Plan 9 From Outer Space

Your curse as a presenter: You know too much or you are too passionate about your subject. That sounds like a good thing, but it’s not always. What you need is a solid edit, chopping out non-essential information and detail, not just fixing tpyos*.

The Blob

A slide without a clear point is like a big, shapeless blob. The slide doesn’t direct audience attention, and fails to tell them what they need to know. Worse, it can’t back you up as a speaker. As you prepare your presentation, make sure every slide has a point. Once you know what it is, sharpen it.

Dr. Jekyll and Mr. Label

Titles help. But defaulting to labels instead of headlines doesn’t help you, or your audience. Turn the label into a headline so your audience knows at a glance the point you’re trying to drive home. Back it up with evidence.

The Invasion Of The Body-Snatchers

Don’t be a drone. There is no one “right” way to present. What worked for Steve Jobs won’t necessarily work for you, no matter how much you try. Understand what type of presenter you are, and let you and PowerPoint work as a double act. Build off your strengths and let PowerPoint cover your weaknesses.

The Franken-deck

Two slides from your latest presentation, a few from Bob’s, cut-and-paste some facts and figures scoured from the internet, insert a chart and table — congratulations, you’ve created a monster! It’s the PowerPoint equivalent of robbing body parts and stitching them together. You may have the juice to make it come alive, but it’s still ugly.

Curse of the Were-Clip-Art

You’ve probably heard of the picture superiority effect: We’re more likely to remember things if we see a picture. But putting clip-art on a slide that doesn’t visually add to your argument is like puppies suddenly landing in the middle of your sentence. Cute, but nonsensical. Put words and pictures together to reinforce the points you want to make, not distract from them.

Dead Man’s Bones

A meandering presentation with blind turns, asides and dead ends is annoying for the audience. Like a good story, a good presentation has a solid structure. Think of it as a skeleton with three parts: hook, meat and payoff. Hang your presentation around these bones to quench the frustration.

Silver Bullet

We left the obvious one for last: No one likes bullets except a lazy presenter. There are times when they work, but in this case, it’s not the odd bullet that kills, it’s the clip. More than three on a slide, you may want to begin exercising a little control.

*Yes, I know that’s a mistake.

About the Author

Gavin McMahon is a PowerPoint obsessive. He’s a founding partner atfassforward Consulting Group, and blogs about PowerPoint, communication, infographics and Message Discipline atmakeapowerfulpoint.com. You can tweet to him @powerfulpoint and follow him on Google+.

http://blog.slideshare.net/2013/10/30/nightmare-on-presentation-street-10-horrors-to-avoid/index.html

So then following combating anxiety we looked at bad techniques of presenting, I appreciate that some people may of never given a presentation before. But this is just all self explanatory, everyone has had to sit through droll presentations in high school, ones on anti bullying and UCAS. The only way a presentation can be interesting is if the subject is interesting at the end of the day you have tailor it for your audience. Know how much to include, what to leave out don't overwhelm the audience. It's pretty simple stuff if you put yourself in the audience shoes and deliberate what the need to know to go away feeling like they've gained something from being in that presentation.

Combat Presentation Anxiety

Last week, we discussed the difference between fear and anxiety. Our conclusion was that most presenters actually possess more anxiety than fear when it comes to presentations and public speaking. Given that reality, I want to unpack ways in which you can combat anxiety in your next speech.

Here are 3 essential tips:

1. Get the Blood Flowing

If you are a fan of exercise, then go for a run or walk the day of your talk. Studies have proven that the benefits of exercise have a positive effect on the nerves, lasting up to 12 hours. If you know you enjoy the endorphins that come with exercise, make sure you perform your activity within 12 hours of your presentation.

2. Rehearse, Don’t Memorise

Practice will build your confidence and reduce your anxiety. However, please note that there’s a significant difference between being well-rehearsed and coming across as memorized. Rehearsed implies that you are prepared, confident and can speak on the fly if needed. Memorized implies that you are dependent, lack confidence and are controlled by your talk, rather than you controlling it. Remember and run through key phrases and points, but don’t memorize word by word — the pressure of remembering all that will just add more to your anxiety!

3. Show Appreciation

Ultimately, you want to get into a mindset of appreciation. If your audience knows you want to add value to their life, you will immediately feel a sense of ease because it will define your purpose and role in the presentation environment. Simply, if you can demonstrate that you care about your audience, then they will be more likely to care about you. Perceived distance between the speaker and audience creates uncomfortableness.

Anxiety is a very subjective matter. At the end of the day, you know yourself better than anyone else, so choose those activities that will calm you best.

Read More: How to Present and Sell Yourself Online

About the Author

Scott Schwertly is the author of How to Be a Presentation God and CEO of Ethos3, a Nashville, TN-based presentation boutique providing professional presentation design and training for national and international clients, ranging from Fortune 500 companies to branded individuals like Guy Kawasaki. If Scott is not working with his team building presentations, you will find him in the pool, on the bike, or on a long run. Scott lives in Nashville, TN with his wife and three dogs. He has a B.A. and M.B.A. from Harding University.

http://blog.slideshare.net/2013/11/18/how-to-combat-presentation-anxiety/index.html

So then the following week in PPP we looked at how to combat presentation anxiety via this blogpost. I can understand people getting nervous when giving a presentation, I think it is just one of those things, where public speaking requires practice, and the only way you're ever going to be brilliant at it is if you know what your talking about and you believe in yourself. If you don't believe in your work then how can you sell it. It's all linked with self improvement eating right and exercising make you feel better about yourself therefore in turn you're going to be a more confident person. Confident people are the ones that present well. Even if your not extrovert and confident all the time you just have to put on that hat and get on with it.

Effective Presentation Tips

What is a presentation?

Presentations are about the communication of a story or journey, a vehicle for sharing ideas, thoughts, concepts, progress or the resolution of a project.

A Presentation is an opportunity for constructive feedback from your peers and tutors. A presentation should convey meaningful information, concisely.

You should know your audience, assume they know nothing or little about your work. You should inform them about it. Explain who you are and what you are doing. Explain how you plan to get there, and how you plan to move forward. A presentation is not about you, what you sound or look like. *NB life is always about what you sound and look like, especially professionally, if you can't hold yourself confidently and coherently, how do you plan to sell yourself?

Be prepared, know your subject and keep it simple. Avoid Clip art, but do use imagery to illustrate a point. Don’t use too much text as your point will be lost in the words. Each slide should be important and communicate clearly. If you make a mistake carry on but remember to prepare your script, use cue cards, post its, notes on presentation software. Prepare and practice your presentation, don’t leave it until the last minute.

Presentation day

Arrive and set up early.

Presentation day

Arrive and set up early.

Enjoy yourself. :)


NB: It's all common sense really.

Reflective Practice

What is Reflective Practice?

“Reflective practice is learning through examining what we think happened on any occasion, and how we think others perceived the event and us, opening up our practice to the scrutiny of others.”

Bolton, 2010, Reflective Practice.

“By three methods we may learn wisdom: first, by reflection, which is noblest; second, by imitation, which is easiest; and third by experience, which is the bitterest.”

Confucius (551 BC - 479 BC) Chinese Philosopher

Contemporary understanding of reflective practice as described by Donald Schön in 1996 as,
“Reflective practice involves thoughtfully considering your own experiences as you make the connection between knowledge and practice, under the guidance of an experienced professional within your discipline.”

Is a way of looking at oneself critically to identify what we are doing, how well we are doing it, and where we sit within our communities of practice.

Within college we ask/expect you to reflect upon your learning experiences on every module throughout the three years that you are here.

Thinking about what you did, why you did it, did you learn from it and what you do differently next time are the first steps to reflecting on your progress, Gibbs came up with a useful model that works well for use in the creative industries.

As you can see there are lots of different models that can help us to consider our learning and development as individuals.

You may notice that they have common overlaps but the main function from is to get you to learn from reflection.

As you can see there are lots of different models that can help us to consider our learning and development as individuals.

You may notice that they have common overlaps but the main function from is to get you to learn from reflection.

Reflection is: To learn from both experience and theory to deepen understanding.

So when we ask you to reflect upon some aspect of the course we want you to consider all aspects of the task/brief/module we have set.

We do NOT want:

Just a description of what happens eg. what took place.  

It went well/ it went really bad. 

Blaming someone else for it going wrong..

We WANT.
You to articulate and express a personal insight into what happened.
How did it affect you (positive/negative) but importantly why.
What did you learn from the experience (of doing the brief/module/working with others)?
Could you have done something differently to change the experience? (planning/organisation/research/technical execution)
What would you do differently if the opportunity arose to do something again

When writing up you may want to consider where and how learning actively took place. Eg In taught sessions, tutorials, peer discussion, workshops and lectures.

BUT

Also where passive learning took place eg, reading textbooks outside of reading lists, having conversations with people who have similar interests outside of college and day to day life.

All of this can help you successfully learn and reflect upon how you got there.

Overall after sitting through this powerpoint I came to the conclusion that Reflective practice is just a way to label the way we already criticise and evaluate our work, we just need to do it at a more detailed level and make sure, in particularly I record it throughout the modules.

3D Printing Pen

LIX THE SMALLEST 3D PRINTING PEN from LIX 3D PEN on Vimeo.


Whoa! Look at this it blows my mind, what will they think of next! The future of drawing!

Wes Anderson Presentation

Wes Anderson is the son of Melver and Texas Anne anderson who divorced when he was a young child, an event he describes as the most crucial event of him and his (2) brothers and his growing up. This event has obviously inspired a lot of his scripts and narrative as more often than not they are a statement of men looking for approval from a parent figure often in middle/upper class society. People say you should write about what you know about and that he does.

He was educated at Westchester highschool and then St. John’s a private prep school in Houston, Texas which later provided the inspiration for Rushmore (1998) and in Rushmore he actually uses names of people he was at school with and bases them on characters in the film.

Owen wilson actually was at his uni whilst wes was studying philsophy and they made short films together the first being Bottle Rocket which went to sundance and then they got funding to do a feature length version. It wasn’t a commercial hit and more of a cult audience including Scorsese. Anderson and owen ended up writing andersons first three films together, and I think it’s very apparent because they are quite humourous, Then he colloabarated with Roman coppola for the like of The Darjeeling Limited and Moonrise Kingdom and these have a different underlying tone, and finally his latest collobarations have been with a chap called Hugo Guiness, for Fantastic Mr Fox and The grand Budapest Hotel. For my essay I’m disapproving the auteur theory and lots of people call wes anderson an auteur I think he has a very signature style but the true authors are the collobarations and the fact he always counts on the same actors(Jason Schwartzmann is Roman Coppola’s Cousin) I think his style has developed with working in these collaboaration and it means he isn’t the sole author beause the actors but there own twist on the lines he gives them and it always comes together like a big beautiful orchestra playing in harmony.

 

One of Wes Anderson biggest stamps on the film Moonrise Kingdom are his Rostrum Shots, which are birds eye view lingers on objects, letters, other things of importance. They add to the eccentric theme of the movie by focusing on little snippets of the two young lovers lives. This film is also a classic example of the way in which Wes Anderson is able to create a ambience/atmosphere with costumes and vintage cars and sets and really dress the screen for another lifetime. It really is a beautiful example of this.

I’m just going to show you the opening sequence of a short film for Prada called Castello Calvacanti (also starring Jason Schwartzmann) because the panning is simply beautiful and it’s mirrored going back to the action. This is a signature camera take for anderson, and he does it in a lot of films. It’s just so smooth and is like a piece of art work by itself, it leaves me mesmerized. Another signature camera style he has is all his films except for Rushmore end on a slow motion shot and these are also beautiful. Another feature I would like to mention is the lighting, in this short it is very saturated and flat and emphasises the colour of the piece. I think this is a skill that has improved throughout his filmography and much like the lighting in Fantastic Mr Fox it is simply perfect for the tone here.

Prada candy is another short (or rather series of shorts) commissioned to Wes Anderson to do. I think in these they are a bit too short to get his full signature on but I think it works best for the company because they ooze fun. I think this is because he hasn’t written the story himself he’s only directed this series. But I still think they work very well and those flawless pans are still there. I think this project will have been a lot of fun and will have helped break up the stress of The Grand Budapest hotel as he made these halfway through filming that.

Michelangelo Antonioni had the landscape specifically painted in blues and red and created yellow smoke to reinforce the feeling of Death, desolation and isolation. The only colour is on the woman who is stuck in this industrial site (green coat). He actually painted the trees a blue grey and all the barrells and steel work in red. It’s simply amazing to watch knowing how much work has gone into it. As far as cinematography goes this is breaking boundaries and won four award with two nominations for an italian film this is really good in 1964. To me this is the closest I’ve found to a wes anderson esque director. I love this film so much it’s narrative a flow of pace is a lot darker though but techniques and precision like with Wes are still there though. I think Wes’ films are more successful because when you read about what went on off screen it’s clear that there was a lot of friction between the actors and antonioi where as with wes he makes making the film so much fun with his latest film The Grand Budapest hotel he actually rented out a little hotel and cook with an editing room so the actors could live in the environment and he was never hard on ralph fiennes although he made them do lots of takes to get the right capture it sound like they had so much fun whilst working on it. I think that’s what sets him apart.

A short trailer for Wes’ Latest work and there’s so much improvement since short Hotel Chavelier(with Natalie Portman2007) and The royal Tennenbaums. The colours are so vivid, the lines are just getting more eccentric and I am just so excited to go see this film at the cinema.