DJI Osmo Pocket test 31/5/23

 DJI Osmo Pocket test                                                                                                                                   31/5/23

Figure 1: DJI Osmo Pocket: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.hireacamera.com%2Fproducts%2FHAC00-05775-dji-osmo-pocket%2F&psig=AOvVaw1kbthsMB5DPwlQ-W19CHrg&ust=1685647126483000&source=images&cd=vfe&ved=0CBAQjRxqFwoTCNis1IOjoP8CFQAAAAAdAAAAABAI

In continuing with the final project, I've decided to try out the DJI Osmo pocket with DJI Mimo app.  It was actually much easier to set up that I initially predicted, and even though I have yet to figure out how you format the MicroSD card before each and every use, I am immediately won over.  I've managed to film several new clips for my final project that should resolve the issues that have been brought up previously, specifically the lack of smooth moving shots for my VFX.  I've managed to film new shots for the brief cultural clips of both Abertay University and the DC Thomson printing house.  These shots were both smoothly filmed with no impediments from traditional handheld photography, and should fit in nicely with the next cut of Seoras.   I've also managed to get a new base shot for my charging boar sequence that should finally put this particular shot to rest.   The shot itself has been the main complaint from previous versions and everything else about the sequence has been well-received up until now, so we should be able to move the effects over from the last draft on top of this one.   

Figure 2: Comic Book filter test

Figure 3: New Game Boy Filter test

These are the latest results from filming with the DJI Osmo Pocket with the filters from previous tests utilized.  The shot at Abertay University was achieved by replacing the old shot in the footage comp in After Effects with the new shot, and then quickly rendering the effect, and the shot at DC Thomson was achieved by applying comic-book-like effects in Photoshop.  These shots have turned out very well and I am looking forward to showing them to the tutor for further feedback.  I might have to use the DJI Osmo for the final shot at Camperdown if I want to have a smooth tracking shot without the need for a dolly.  The final shot at Cox's Stack will need a timelapse camera.

Figure 4: New boar composite test

Tutorial feedback 30/5/23

Tutorial feedback                                                                                                                                             30/5/23

Figure 1: Group tutorial: https://www.google.com/url?sa=i&url=https%3A%2F%2Fjunkee.com%2Fthe-stages-of-a-12-week-tutorial-group%2F113036&psig=AOvVaw2gukU_HWwxWpSP9ksQ9LqZ&ust=1685540367424000&source=images&cd=vfe&ved=0CBAQjRxqFwoTCLiS36iVnf8CFQAAAAAdAAAAABAE

The tutorial feedback has come in from the latest group session, and as I predicted, there are some areas that need some serious improvement.  On the whole, the film was well-received and did have some great abstract points, and I can safely say that it's targeted towards an arthouse audience with discerning tastes, and people around my age who are seeking more abstract forms of entertainment.  The wiggle expression on the sketch filtered shots, as it stands, creates an effect that is rather unsuitable for those with photosensitive epilepsy when viewed on a large screen and so it was recommended that I reduce the wiggle expression speed and use the rotobrush effect in After Effects to make it appear like the effect is only on me so that the disorientation effect is clearer.  In order to further express the disorientation effect from the world around him, I've been instructed to add an extra effect to the colour correction where the main protagonist appears to be more vivid and clearer than the world around him, which should be relatively easy to achieve.  

Figure 2: Rotobrush flicker test

This is the test of the suggest effect for the frames where the protagonist is meant to be distorted.  This effect was achieved relatively simply by making a duplicate of the original colour-corrected footage, applying the rotobrush to the areas where I am visible and then using the alpha matte on top of the flickering sketch filter to better concentrate it and make it look like I'm the only one who's disconnected from reality.  The wiggle expression has yet to be reduced, so I will await tutor feedback on this area, but I do know what I have to do to reduce the seizure inducing effect.

Main points of feedback from tutorial:

• Ditch the glasses
• Apply a wintry to summery hue in the colour correction for a better indication of narrative progression
• Reduce the flickering speed of the wiggle expressions 
• Reshoot wall shot at West Ward Works with clean wall (and add camera movement whilst you're at it)
• Add camera movement to shot at Camperdown and Cox's Stack
• Cut shots down to increase speed of reaction
• Add an additional establishing shot at the beginning for more narrative clarity
• Reduce the overall length
• Sort out any areas with random pockets of silence
• Don't be afraid to cut out clips that just pad the length out
• Add a reference to the Caird Hall clip at the final shot

New camera test 29/5/23

 New camera test                                                                                                                                         29/5/23

Figure 1: Canon EOS 1100D: https://djcadbookings.dundee.ac.uk/wizard/resourcedetail.aspx?id=1234

My latest experiment with the cameras has led me to trying a lens that was deeper in the hopes of providing my shot at Camperdown with more depth for the 3D Camera Tracker to work off of.  I was doing this shot whilst they were setting up gates for the BBC Radio 1 Big Weekend, which was a big draw for the local area but meant that I had to work with lorries and tractors bringing in equipment for the event.  I tried shooting the scene of the trees at multiple angles using the Canon 1100D with a 300mm lens, but this had several caveats.  Namely the recording quality would only go up to 720p which meant that the picture quality would be far inferior to the Panasonic DVX-200 and that the field of view was actually much tighter than the Panasonic camcorder, not to mention the fact the camera had no onboard mic to record sound.  I also now know that the camera moves that the tutor is looking for to make the shot the needed quality really need a tripod in order to be smooth and fluent.  The handheld camera moves that I did try for the first shot were far too shaky to look professional and focused, and when I tried the warp stabilizer on the shot, it resulted in weird, wobbling effects on the picture that did not look good.  It was also harder to adjust the ISO and shutter speed on this camera, and I could not get the 3D camera tracker to work on the shot at all, so for the next and hopefully last round of shots for this scenario, I will just use the DVX-200 and the tripod that comes with it in order to make the shot work.  

I have laid out some shooting plans for how I intend to film the final attempt at the Camperdown sequence.  The first attempt will be a relatively simple, slow panning manoeuvre where all the trees around the path are in shot and the 3D motion tracker will find some to attach the animation to.  The other idea I had is one that would utilize the DJI Osmo pocket and produce a smooth forward translation shot where it would like the protagonist is moving forward through the trees and the deer animation is attached to the trees.  I would keep using the masks to ensure that the animation is contained.

Figure 2: Plans for final Camperdown shot

Figure 3: Canon 1100D shooting attempts

Figure 4: BBC Radio 1 Big Weekend: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.nme.com%2Fnews%2Fmusic%2Fbbc-radio-ones-big-weekend-2023-location-announced-3387387&psig=AOvVaw0gToamNXFETz6enuW2oXVF&ust=1685471927544000&source=images&cd=vfe&ved=0CBAQjRxqFwoTCJDAgK6Wm_8CFQAAAAAdAAAAABAE

New alien landing test 23/5/23

New alien landing test                                                                                                                                   23/5/23

Figure 1: New alien landing test

This afternoon's session of compositing has been one of the most stressful, and I have seldom been irked more by the presence of video edges in a visual effect.  Even though I managed to make a great looking shot the first time around, it is good to have a second draft handy.  This session, I had to recreate the alien landing shot in to make it look more animated, and the effect composition required positioning the solid in a way where it looked relatively integral and didn't stick out.  This method was relatively similar to the original shot, but I ran into trouble in compositing where you could blatantly see where the effect was cut off and no matter how many masks I tried to put on, the problem wasn't solved.  This is a time where I really wish After Effects would let you open two projects at the same time so I could compare the two.  All in all, I had to restart the project four times to get into a workflow that actually produced decent end results, and I wish I could copy the effects from the previous file over but I had to make do with what I had.  In the end, I managed to make a decent looking effect that looks more or less as good as I want, but I hope I can convince the tutor to just keep the old shot in the final cut since it is ultimately the one that's more effective.  Sometimes, the original try is a lot better than you think.

Figure 2: After Effects composition

I've also found a way to utilise some new shot composition tests I've tried.  In order to reference the gaming and comic industries of Dundee, I will have to do two more shots that will bulk up the final running time ever so slightly.  The first shot will be a POV shot overlooking Abertay University, which is renowned for its game design courses and training of game development talent, and a POV shot of the DC Thomson publishing house which is renowned for its publication of Beano, Dandy and local popular characters.  This will be done with a much smaller and lighter camera such as the DJI Osmo which will allow for more fluid movement and less need to smooth out the shot in After Effects.  Also, the shot at Camperdown needs some camera movement in order to be more visually engaging, as does the shot at Cox's Stack.

Figure 3: New Verdant Works Composition

  

Comic Book filter test 23/5/23

Comic Book filter test                                                                                                                                    23/5/23

Figure 1: Comic book filter test

This is the latest filter test I've tried out with the footage I already have available.  The look and feel of the shot are meant to be a cultural reference to another one of Dundee's prominent industries - in this case, the comic book industry that most notably consists of Beano and the Dandy.  This filter was done in photoshop where the filters available had much more variety and ease of application.  Whilst the software doesn't necessarily have much keyframe usage, it was the best choice for this particular filter.  The filter involved applying a colour halftone effect, as well as a stroke and inner glow effect around the borders to make the shot look like a comic book panel.  I've also tried applying the effect to a panning shot which would make it more visually engaging.  I will need to check with the tutor to see if the effect is necessary and effective in conveying the reference.

Figure 2: Photoshop file for filter test

Shots to complete: 

• Moving alien light test
• Camperdown shot with more depth and wider lens
• Next cut of Seoras

New timelapse test 22.5.23

New time-lapse test                                                                                                                                      22.5.23

Figure 1: Jute compositing test with time-lapse footage

This is the latest test with my Jute animation that I recently filmed and composited.  This shot was relatively easy to render with minimal effects but this time I feel like I have a much more visually engaging backdrop to work of off.  This shot was filmed with the DVX-200 at a low angle looking up at Cox's Stack with some more background material over one hour with the audio removed for obvious reasons in the speeding up.  When it comes time to insert this into the next cut of Seoras, I'll use the unaltered audio from the original shot to make it sound relatively organic.  In order to compress the video to a duration that fit the animation, the video file that was over 50GB in size was sped up over 9900%.  This resulted in some very visually engaging cloud formations and moving trees.  The animation itself was inverted, made into 3D, had a mask on top to keep it contained and a glow/light rays effect to make it appear more visually engaging.  The light rays effect follows the tip of the jute stem as it grows.  Hopefully, this shot will be more well-received than the previous attempt which in retrospect did turn out to be rather unengaging.  This effect was largely inspired by tutor feedback that suggested adding cloud animations to the original shot.

Figure 2: After Effects composition

Shots to complete:

• Comic book filter shot
• Game boy filter shot (made to resemble original Game Boy screen)
• Camperdown trees shot with deeper, wider lens
• Modified alien landing test
• New cut of Seoras

Figure 3: Game Boy Filter test

New shot at Camperdown 19/05/23

 New shot at Camperdown                                                                                                                          19/05/23

Figure 1: New shot experiment at Camperdown

This is the latest version of my Camperdown trees test which I shot quickly yesterday with over 20 takes before I got enough footage I was happy with.  It was a bit more tricky than usual because they were setting up for the BBC Radio 1 festival which was about to start, but I managed to film without obstructing anything or anyone.  The main feedback from this shot previously was to have more trees and more dimension in the shot so that the deer could be seen more easily, and that the original deer animation needs to smoothed out with less slide.  Whilst I have yet to sort out the slide on the shots, I have tried a new method for wrapping the animation around the trees and adding more dimension to the shots with CC cylinder.

I have also tried a number of blending methods with the glow effect on the deer, including changing the direction of the effect for a more abstract output.  The masks were still added to make sure that the deer were still in the intended areas.  I will need to show these to the tutor for a full breakdown on how to really perfect this shot, because I've had to use some mask animation to stop the deer figures from appearing prematurely.   I might also need to try out some of the earlier shots that I used in order to see if they are more suitable for this effect.  I've also considered using a longer, wider lens in order to get more depth in the shot and to potentially try a contra zoom effect now that I have access to dolly track.

This effect has taken the longest of all the effects so far to get right, and I will need to do at least four drafts in all to make the effect work in the way I intend it to.  I've also took an hour long shot late in the day of the Cox's Stack to show a timelapse effect on the monument to make it more visually engaging.  This resulted in a video file that was over 50GB in size and had to be sped up 10,000% in order to be the length to accommodate the animation.  I will more than likely have to return to Cox's Stack to get one more draft of the shot that is approved and discussed by the tutor that will have an engaging end result.

Shots to be done: 

• Extra draft of Cox's Stack shot
• Extra draft of Camperdown trees
• Game boy filter in photoshop
• Painting filter in photoshop 
• New cut of Seoras for group tutorial

New experimental shot at Verdant Works 17/5/23

New experimental shot at Verdant Works                                                                                                 17/5/23

Figure 1: New Verdant Works wall test

This is the latest version of the shot at the Verdant Works with footage incorporated into the wall in the shot, but this time, I've included a very slow, handheld moving pan on the camera to add the needed visual engagement.   This shot was done very quickly since Verdant Works is very close to the college, so I could quickly walk over.  I tried a number of methods with this shot including a simple pan from left to right, and a handheld tracking shot.  I did about 20 takes of the shot before I got enough footage that I was happy with.  It was a bit difficult with traffic and walkers occasionally getting in the way, but absolutely no one was bothered.  I ironed out the roughness in the handheld motion with the help of the warp stabilizer in After Effects.

When it came time to add a camera tracker on the shot, I had a bit of a problem in that it could get the tracking dots up relatively well, but I got an error message that said "No depth from a tripod pan solve", meaning that the lens wasn't quite wide or deep enough to get enough information for three-dimensional trackers.  If I were to try this again, I'd try filming the shot from a bit further away or use a camera with a wider lens.  Thankfully, I still managed to get a null that helped me keep the footage where it needed to be.  After this, the footage was added relatively quickly with the requisite glow effects added as well as a posterize time effect to make the footage more abstract.  I also had to add a rotobrush effect again to keep it from covering the windows on the wall as well as cut the footage off where the wall stopped.  The end result has given me a relatively smooth and cool-looking shot.  Whilst it would have been nice if the modified footage panned at the same speed as my footage, it still looks convincing enough to be added into the shot.  If I were to try this shot again, I'll try it with a deeper camera lens and try out some dolly track so that the shot can be relatively smooth.

Shots to redo:

• Camperdown trees (needs more trees with more depth in order to make the shot more visually dynamic)
• Timelapse shot of Cox's Stack

Side Project: Ron the Recreator 17/5/23

 Side Project: Ron the Recreator                                                                                                                   17/5/23

Figure 1: Alex Dorpenburger from Close Enough

This is a quick idea for a little side project I have in mind that is no way meant to replace Seoras in any capacity.  This is literally just something else I can animate in the upcoming sessions with Duncan.  Beside the aforementioned reason of Seoras, this character's capacity and link to pre-existing material make him far too big for a student project.

This character is meant to be a lampooning of god-like "big bad" characters in animation and entertainment.  This is a character who has the power to foresee the future, control life, shapeshift, alter reality and destroy universes, and is meant to be an irredeemable antagonist.  The catch of this is that instead of being portrayed through the body and mannerisms of a serious dramatic actor, this character is pictured by me to be portrayed by comedian Jason Mantzoukas.  The most notable roles that the actor has done in animation include Alex Dorpenburger in Close Enough, Jankom Pog in Star Trek Prodigy, Scarecrow in The Lego Batman Movie and Mr Manoogian in Bob's Burgers.  None of these characters have godly, otherworldly powers and his role within series is usually closer to a jerk-like variation on the everyman.  This role would act as a deviation from his normal figure choices.  The character is meant to be a fanmade original character that is meant to exist in a universe of characters from Nickelodeon, and one of the characters draft costumes is meant to indicate that with the various visual cues attached.

The main antagonistic objective that the character has in my story is to replace one character's prominence in this Nickelodeon-character-focused universe with another character that he feels has been vastly overlooked and underappreciated, namely eradicating the series known as "The Loud House" and replacing it in terms of popularity and significance with the series known as "Glitch Techs".  Whilst this objective is in some ways selfless as its seemingly meant to be for someone else's benefit other than his own, I don't expect the audience to fully sympathize with him because he is mainly doing this because of the former series irks him too much and reminds him of his beleaguered past.  His mannerisms and personality are also meant to be arrogant but insecure as well as largely snobbish: he is fully convinced that his own ways are the most effective regardless of their cost to others.  The main detriment of his plan is that his plan of getting rid of the "Loud House" universe is that it results in the obliteration of all the other character universes if not executed carefully, but he still persists with the objective.  This character is also meant to be a connotation of fanboy-type figures on the internet who literally care about nothing else and will vehemently insist a character can do no wrong even if they are clearly shown to do so: in other words, this is also meant to be a mockery of shallow fanboy culture.

Figure 2: Initial character concepts

Figure 2: Character breakdown

Figure 3: Character inspirations

The way that I intend to create this character is in Maya, but he would look more similar to the characters in the "Money for Nothing" music video from 1986 due to my relative inexperience with the practice of making characters in 3D.  The blocky, primitive quality of the models in the video is a realistic goal for me to aim for when making the character, especially when a sharper outline can help in creating someone with a villainous appearance.  The "Money for Nothing" style is meant to be a style choice that I can create because of my current skillset rather than a cultural reference. 

Figure 4: Character costume draft

Figure 5: "Money for Nothing" music video still: https://www.google.com/url?sa=i&url=https%3A%2F%2Fgarage.vice.com%2Fen_us%2Farticle%2F9kpmzp%2Fdire-straits-money-for-nothing-video&psig=AOvVaw1usK5B7e96E166Wcv-ANZE&ust=1684396625837000&source=images&cd=vfe&ved=0CBAQjRxqFwoTCJjylMbw-_4CFQAAAAAdAAAAABAE 

Figures 6 and 7: Initial character costume designs

Figures 8 and 9: Character shapes and structures

Figures 10 and 11: Facial tests

Figure 12: Incomplete colour test

Shot filter tests 16/5/23

Shot filter tests                                                                                                                                               16/5/23

Figure 1: Game boy filter test

Here is the latest result of the filter tests I've been trying out with the shots I have for my film that are meant to act as visual references to Dundee's industries and past-times.  This shot is meant to act as a reference to the video game industry with a filter that makes the footage look like a monochromatic LCD screen or a screen on the original Game Boy, since I found several Game Boy models in the McManus Museum.  This footage will need to have the "Posterize Time" effect and have bigger spheres on the ball action in order to be truly resemble the technology, and it was recommended that this filter be applied to a more lively shot in the film with things such as someone walking around or a panning shot.  Overall, this has been well-received but will need some modification in order to be truly successful in carrying out its reference.

Shots to redo:

• Tracking shot of wall at Verdant Works
• Timelapse shot of Cox's Stack
• Shot at Camperdown (needs trees with more dimension and depth so that more deer can be shown)
• Boar shot (needs to be on shot that is moving for more dynamic engagement)
• Comic filter shot (trial on extra footage)
• Painting filter (trial on extra footage)
• Verdant wall shot (needs some panning to make it more visually dynamic)

Figure 2: Attempt at camera tracker on boar shot

Also for the next group tutorial, I have been asked to show the rough cut of the final project.  Even though there are obviously faults that need to ironed out beforehand, and the feedback is more than likely going to be brutal but it is necessary in order to condense the film down to a flowing, structured narrative that can be easily viewed by a regular person.  It will also show what filters are truly effective and which ones the film will be better without.

I'm having a bit of trouble with the camera tracker on the boar composite test.  This experience has taught me the importance of having some tracking tape on a wall in order for a tracker to work and that smooth and slow shots are what it prefers to work best.  In order to work around this, I've tried a similar technique to the previous boar with a simple keyframe animation with some slide.  This has kind of reminded me why I initially went with static shots for the first draft because they were easier to add, and without some form of visual effects some shots are really the equivalent of a nothing sandwich. However I must press on and see if I can I make something out of the more dynamic shots.

Figure 3: Nothing sandwich: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.sfchronicle.com%2Fpolitics%2Farticle%2FWhere-did-the-term-nothing-burger-actually-11283897.php&psig=AOvVaw1VKr15RzgHr5TxpAiUP0v7&ust=1684349189066000&source=images&cd=vfe&ved=0CBAQjRxqFwoTCPi-3-q_-v4CFQAAAAAdAAAAABAE

Figure 4: New composite test with one boar

Figure 5: Newest composite test with multiple boars

Extra material from cover letter

Extra material from cover letter                                                                                                                16/5/23  

I have always been passionate about continually developing my skills. For example, I have taken the initiative to do evening and online classes in electronics and robotics, and over many years have volunteered on a range of community film projects.  I am known for my exceptional work ethic (100% attendance at school, university and work) and my capacity for self-direction. I moved to Scotland in 2020 in order to start the MSc at Dundee but this was delayed due to Covid. However, I made good use of lockdown by working as a hospital cleaner whilst also studying Maths, Science and Technology with the Open University (Distinction) and also doing an SVQ2 professional cookery course.

Plan for revamped Cox's Stack shot

Plan for revamped Cox's Stack shot                                                                                                          11/05/23

Figure 1: Close-up shot of Cox's Stack

For the final shot of my film that needs redoing (the jute stem growing up Cox's Stack), I have considered a number of ways around it.  The most impressive route would be to use a drone shot that would provide a smooth and steady pan of the entire brickwork but this would be difficult considering the restrictions of the nearby airport, and expensive since a 60-second shot with all the professional preparations would set me back at least £150. 

One suggestion that was provided by the tutor was to set up the camera to accommodate a timelapse shot where the camera would film for over 2 hours and then the shot would be sped up to 14 seconds so that it could accommodate the original animation.  It would need to take place on a perfect day without danger of raining but would still have enough clouds present to make the shot appear visually engaging as the original shot only had a plane fly past briefly and looked static and unprofessional.  I want to make the shot look imposing to indicate the height of the tower.  It would still utilise the Panasonic DVX-200 because it's the camera I'm most familiar with and produces shots with the most depth.

Figure 2: Plan for timelapse set-up for Cox's Stack

The other idea would involve filming Cox's Stack using a drone that could shoot in 4K at 25 fps.  It would need to be licensed and registered to film in the relative vicinity of Dundee Airport.  It would also need to film a slow-moving panning shot that would make it easier for the camera tracker in After Effects to work and provide something to keep the footage in place.  Once the shot has been filmed, it would be put into After Effects, colour-corrected and then run through the camera tracker so that an anchor point could be made for the footage to work on.   The footage might still need to be cropped and positioned to work sufficiently, but it would result in a much more dynamic-looking shot.

Figure 3: Plan for drone shot set-up for Cox's Stack

Double filter test 10/5/23

Double filter test                                                                                                                                            10/5/23

Figure 1: Double composite test

Following some previous feedback from my tutor, I've started a new experiment with compositing footage, starting with this kilt shot.  This technique involves taking the photoshop-modified footage where the video has a sketch filter applied and then combining it with video that's made to look like a watercolour painting.  I simply put the two pieces of footage together using a simple blending mode that was very easy to render, and this is the end result.  My aims of this experiment is to replicate the look of A Scanner Darkly and it's colour scheme using comparatively much quicker techniques, and so far this needs a bit more work in order to be truly effective in that regard.  Because I now have more freetime with coursework, I can now afford to play around with the shots more in order to find the effects that will work best in the final project.  In order to really narrow down the progression of my film, I'll need to have the tutor look over the edit again with a fine-tooth comb so I can definitely take a note of what works, what needs improving and what needs to be axed.

Figure 2: Watercolour filter test

Figure 3: Sketch filter test

Priorities for next term 9/5/23

Priorities for this term                                                                                                                                    9/5/23

Figure 1: 2019 Drone Video

Here we are in the last term of the course, and I've found out that I need to make an exhibition space for my final degree show as well as one last assessment video which is more focused on the module rather than the year as a whole.  We will have lectures and sessions to keep us occupied, but the dates for those have yet to be confirmed.  For the timebeing, I need to keep tailoring my cover letter for job applications, and I've been told it takes at least two months before you can find a place that actually hires you.  I've also had to make a work-friendly portfolio that shows your best work without giving away any contact details.   My showreel is as good as it can be at this point.

Priorities for the rest of term:

• Complete material for exhibition space
• Complete final assessment video
• Get a drone shot of Cox's Stack
• Keep applying for jobs and tailoring cover letter
• Do practice interviews
• Develop animation practice
• Create original character  

After my feedback which highlighted the obvious points (have dynamic movement in VFX shots), I've also realised that some of the shots might have benefitted from being shot in better conditions such as the whale, and the fact that the animation could benefit from fewer frames (I might have overdone the animation frames on the deer figure test).  I also need to work on some more compositing for some other shots.

Figure 2: Lava composite test

This is the latest composite test for the Dundee Law scene in my film where the protagonist sees a vision of lava surrounding him, indicating the landmark's previous life as a volcanic sill.  The previous attempt used an uneventful static shot with no movement, and the tutor said it needed replacement.  So I went back to the location and made a new shot where the camera would pan across the legs of the bench and the lava made in after effects would have a moving mask as the shot panned to simulate lava surrounding the bench.  Whilst this shot does still operate under the rules of a playground, in that lava is primarily something that you can just jump over, I hope that this shot has a better reception.  If not I will most likely have to go back and try the shot again with some dolly track to fully make it effective.

The main plan with the Cox's Stack shot, the main one that needs a second do-over is to make a shot that has smooth movement and life occuring.  One suggestion for remedying the issues with the previous shot is to shoot the footage of the tower over several hours and to speed up the footage to simulate the effect of timelapse photography as well as to highlight the abstract perspective of the protagonist.

I aim to grow with any company I join, adding a new perspective to the workload and the dedication needed to get the possible results.  I hope that I can become an integral component of your company and share my knowledge with your own, as well as commit to whatever task I am given.  My animation experience has given me a whole new work motif when considering the content I make and the audience I appeal to, and I hope to grow this experience along with you.

 

Companies I want to apply at 02/5/23

 List of companies I want to apply for                                                                                                       02/5/23

Figure 1: Working at Netflix: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.cnbc.com%2F2020%2F09%2F29%2F10-companies-tech-employees-want-to-work-for-most-in-2020.html&psig=AOvVaw386LoWSYEiQsKO1g3Z9C-Y&ust=1683116719375000&source=images&cd=vfe&ved=0CBAQjRxqFwoTCMinrMPQ1v4CFQAAAAAdAAAAABAE

This is the list of companies I want to submit applications for:

• Wowcher
• Ooni pizza ovens
• Traeger smoker
• Cineworld
• Guinness World Records
• Craft
• Gtech
• Companies in Berkshire/Surrey
• Argos
• Open University
• Creative Resource
• Shadow Foam 
• Easyjet
• ebay
• Circus Street
• Subsea 7
• GovData
• TyreonFire

Some of these companies I've tried to apply for a job but I have not succeeded.  I hope that the job I apply for can also work on a hybrid basis so that if they are based outside Edinburgh (where my new flat is), I can make the weekly commute if needed with a cheap train company.

New Lookout Point shot 2/5/23

New Lookout Point shot                                                                                                                              2/5/23

Figure 1: New snake lookout point shot

This is the newest version of my pictish snake shot projected on the metalwork of the staircase of the lookout point.  Whilst I do like the original version of the shot I created, the movement and flow of the figure was a bit erratic and uneven, so I made a new version using a gif as tracing reference material with enough differentiation to avoid plagiarism.  This version of the animation appears to flow up the metalwork much more fluently, which means that I need a bit more training before I can animate completely on my own.  I've also added some more glow to the shot to have the needed visual panache.  

Figure 2: Second version of snake lookout point

Stock cover letter for job applications 1/5/23

 Hello, 

 

I am writing to apply for the video editor/animator position as advertised on www.getukjobs.com: https://www.getukjobs.com/jobs/view/video-editor-animator  

I am drawn to the position at Transiris because of your commitment and practice in the field of video editing and animation, and I hope I can contribute to this team with my own experiences and insights into the animation pipeline and communicating with professional animators.  I am always looking to improve my practice in whatever area I apply myself towards. I was drawn to applying for your company because of your 

I am no stranger to the practice of video editing, having used Adobe Premiere for nearly ten years now and Adobe Photoshop and After Effects for upwards of five years. I also have proficient experience in TVPaint, Da Vinci Resolve and Maya from my degree, and am continuing to develop my practice in animation and motion graphics from my professional experience.  My most notable professional experience include my apprenticeship at Brands Media in Torbay from 2018 to 2019, producing motion graphics and social media content for DD8 Music and Kirriemuir Community Garden during the second Covid lockdown and most recently, working alongside a team of animators on a TV series pitch for the Stirling-based animation studio Wild Child. The main things that I’ve learned from this experience include the importance of perseverance with the software you are required to use, particularly in 3D with modelling, as well as how much I love the practice of animation and the additional perspectives it can provide to other forms of media. 

Due to my current commitments with my MSc degree, I would look to start working for you in August/September. During this course, I have learned the importance of perseverance with the task at hand, as well as clearly communicating with your peers.  The most important experience of this course has been during the crafting of an animation for an employer showcase where the original animation I had done had effectively been derailed following a lengthy modification in Maya.  I had to start the animation again from scratch to return it to a usable state for my peers, but I eventually managed to reproduce the animation successfully with an updated model and the modifications that the tutor recommended.  I also learned the importance of continuous, refined animation practice during periods where I had no immediate task priorities to get my animation practice to the required professional standard. 

Outside of my experience in creative media I have an excellent attendance record in school and college and consider myself to have a strong method of commitment to my work to finish it all the way through.  I have also maintained a strong productive work ethic during the Covid lockdown working in my local hospital whilst continuing to study and provide voluntary work for local community projects.  I hope to bring this commitment to the team at Transiris.   

I am currently based in Edinburgh but would be more than happy to relocate to the Glasgow area and commute/travel with the job as required.  I have held a full UK driving license for over four years. 

I look forward to hearing from you. 

Yours faithfully, 

 

George Salisbury 

Geo36923@gmail.com 

07807 663 671