Thursday, 16 December 2010
Wednesday, 15 December 2010
This is the final edit for the critique held at The Bartlett School of Architecture on 2010/12/14. This short film will form part of the overall edit that will last close to 15minutes. The following parts will explore deeper into the artifice of London and potentially into the realm of globalization and condensed geographies.
Monday, 13 December 2010
On 'Jed's' journey he ventures into the deep canyons created by the multiple Centre Points. As he explores further it becomes apparent to him that only what he sees is actually constructed. Finding himself to the rear of the film set unveils that all the buildings are only partially constructed.
Following his nose he ascends into the skyscrapers to find that the spaces within these high rise studio constructions are actually inhabited. The internal organs of these buildings have functions and facilitate studio upon studio that are either the remanence of past film productions or studios in full use.
The rear of the film studio shows how the panels of Oxford Circus are simply made of timber panels with the fronts painted by matte painters. They are hung from mobile hoists which enable the production crew to fully erect the large scale matte panels.
The overall warehouse contains the constructs of the false version of Oxford Circus. The model itself involves faking facades of Oxford Circus with panels that sit in forced perspective and replicates matte painting techniques used in film making processes.
Once 'Jed' completes the transition, between the confines of his domestic space and the synthetic space of his imagination, two spaces await him. Beginning in the warehouse space, it is unveiled to him that what he may have perceived as real space is actually constructed out of flat planes that simulate built form and therefore construct the world as he knew through artifice.
The first space is the foreground of the warehouse which is at a scale that falsifies the scale of Oxford Circus so that it could fit the physical and spatial constraints of the space that houses the overall production design.
As the exploration continues into his synthetic space, he finds that the scale of the environment has warped and increased to that of the real world.
This warping and growth signifies the effect that his imagination is having of his mental state of mind in that what is generated within his mind becomes evermore real.
Capturing the main moments in the film, this drawing represents the moments at which the mind of Jed slips into his synthetic creations of urban landscapes induced by his consumption of film and the perceptions he builds up of filmic geographies.
Friday, 10 December 2010
“I think more than any other city, London absorbs whatever horrors are enacted upon it,” Sinclair insists. “We can swallow Millennium Wheels, Domes, all of these things. Whatever’s put up is absorbed into the story and narrative of London.”
Tuesday, 7 December 2010
As Jed enter his imagination, he arrives in the constructs of of what he thought was a film set in London. To his surprise it is exposed as a film that was not about its location but about how the film itself represented the location of London.
The opening shot sets the scene as an ambiguous location with no reference to anything other than the characters location within this room, watching movies.
Thursday, 2 December 2010
These stills are shots from the test below. I intend to work into the model alot more and build the idea that this version of London is very much so a stage set that aims to deceive the viewer or user of the space into believing that the space they inhabit is real when in actual fact it is completely developed out of artifice.
This clip is part of the main reveal of the artifice of London. Using Maya to model the geometry I have matched it to the footage that I have created in other sequences so that the two seamlessly blend together.