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Split into groups, I was assigned t o g r o u p 8 a l o n g w i t h A n h , C a lv i n , Darius and Viktoriya. We were given the Dogme95 manifesto to research and the role of a collaborator. Using the knowledge gained from the research of the Dogme95 manifesto the goal was to create our own manifesto based on the role of a collaborator within contemporary design. However before all this I needed to r e s e a r c h w h a t e x a c t ly a m a n i f e s t o was. According to Wikipedia:

“A manifesto is a public declaration of principles and intentions, often political in nature.”

D o g m e 9 5 Dogme95 was a collective of film directors from Copenhagen formed in 1995. Their goal was to counter “certain tendencies” of the cinema o f t h e d a y ; b a s i c a l ly i n t h e i r e y e s Dogme95 was a rescue action of c i n e m a . F o u n d e r s L a r s V o n Tr i e r a n d Thomas Vinterberg created the VOW OF CHASTITY; a guideline for how t h e y f e lt f i l m s s h o u l d b e s h o t . An abridged version of this can be found here: http://matthewfinnie. gdnm.org/2011/09/28/dogme95/ along

slides designed by myself, taken from the Dogme95 Presentation found @ http://dogme95collective.gdnm. org/2011/09/30/dogme95-presentation/

with other notes taken. From the initial research our group made, we distributed which area of Dogme95 we would each concentrate on and present during the presentation. I was given the role of “what dogme95 has influenced”. I spoke of the movements Dogme95 has influenced such as M U M B L E C O R E a n d T H E N E W P U R I TA N S a n d t h e impact the VOW OF CHASTITY had on cinema.

For example, without these guidelines films such as Cloverfield may not have been filmed the way they were. I also spoke of the work members of Dogme95 were doing today and how their style has changed over time.


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C o l l a b o r a t o r After looking into Dogme95 our next stage was to look into the role of a collaborator within contemporary design. The word collaborate means

“ t o w o r k j o i n t ly o n a n activity, esp. to produce or create something”. We started by looking at collaborative works of art and how the collaboration worked within them. I looked at the Comedy C a r p e t b y G o r d o n Yo u n g a n d W h y Not Associates; I also looked at the Cathedral Of Light by Jonathan Glazer and J. Spaceman. I found the Cathedral Of Light to be interesting due to the amount of collaborators that took part in the creation of this installation. Glazer and Spaceman

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worked with many people to help create the Cathedral and when speaking of collaborating with the two architects who helped create the designed said it’s like we’d worked together for 15yrs, it took no effort at all to communicate what we were trying to achieve. However from looking into this, as well as other works, we came across a problem, as we could not agree on who was a collaborator within that installation and who wasn’t. For example would the builders who put up the frame structure be considered as collaborators? This lead us to, w h a t w e f e lt w a s a “ g r e y a r e a ” .

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We f e lt t h a t t h e r e w a s a f i n e line between participation and collaboration, “the grey area”. So t o s o lv e t h i s p r o b l e m w e w a n t e d t o create a set of guidelines, much like the VOW OF CHASTITY, on how to create the perfect collaboration; in our eyes.

one of the a3 research sheets on the role of a collaborator within contemporary design, this and another can be found on the blog @ http:// dogme95collective.gdnm. org/2011/10/06/collaboration-a3research-sheets/


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R u l e s RULE 1: A M I N I M U M O F 3 C O L L A B O R AT O R S , S O T H E R E I S A LWAY S A M A J O R I T Y OPINION DRIVING THE PROJECT F O WA R D RULE2: E V E R Y O N E H A S A N E Q U A L S TA K E I N T H E P ROJ E C T , T H E R E I S TO B E N O HIERARCHY RULE 3: E A C H C O L L A B O R AT O R H A S T O B R I N G A D I F F E R E N T S K I L L - S E T TO T H E G R O U P T O AV O I D A C O N F L I C T OF OPINION ON ANY SPECIFIC AREA OF A PROJECT. THIS ALSO A L LO W S E A C H M E M B E R O F T H E C O L L A B O R AT I O N T O U S E T H E I R S K I L L - S E T I N WAY S T H E Y A R E N O T U S E D TO O

So the grey area provided us with the opportunity to create a set of rules to help create a perfect collaboration. However, we wanted to show how these rules could be implemented and we came up with the idea of creating a conceptual website to help “match-make” people who wish to collaborate. The idea behind the website was to make sure that the collaboration is constructed according to the rules we have laid out so as to maintain a true collaboration, to help people achieve original creative work. The name of the website: c o ( l a b ) ²

design I made for the rules, enlarged image viewable @ http:// matthewfinnie.gdnm.org/2011/10/08/collaboration-rules/

c o ( l a b )² The idea of the website was to bring our manifesto into action and to help bring artists of all fields to a platform in which they could search for collaborators. We discussed what pages would be required for the website a n d w e b r o k e i t d o w n t o : H O M E PA G E , S I G N U P , U S E R H O M E PA G E , G A L L E R Y a n d C O L L A B O R AT I O N PA G E . F o r t h e p r e s e n tation we were each distributed a section of the website to discuss and I was given the research behind it and the gallery pages to design. Viktoryia’s logo deign (final logo)

my designs for the co(lab)² logo


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The research behind co(lab)² was a combination of several different websites that had some of the elements of co(lab)² but not all of them combined. Some of the websites I looked at were: D O N ’ T PA N I C , O P E N I D E O , D E P T H C O R E , 9 9 D E S I G N S a n d M O Z I L L A D R U M B E AT . OPEN IDEO gives out briefs and then members can choose to work in groups to comp l e t e t h e s e b r i e f s . We f e lt t h a t i f w e g o t the members of co(lab)² to create the briefs rather than us, it would be a truer collaboration, as we could not influence them in any way. Mozilla Drumbeat had the social aspect that we were interested in using. The members could interact with each other and communicate about projects they could c u r r e n t ly w o r k o n . W e w a n t e d s o m e t h i n g similar to this but with the addition of a schedules, deadlines, video chat functions and an image/video submission.

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I was assigned the gallery pages to design, u s i n g C a lv i n ’ s d r a f t d e s i g n a s a t e m p l a t e to work off of. I looked at sites like D E V I A N TA R T a n d D E P T H C O R E ’ s g a l l e r y pages for inspiration. I decided to not clutter the page with much as the images were the main drawing point of the screen, this being the gallery page. I also added the “theme of the month” to provide the gallery with some context. I also kept the

my slide from the presentation on the research behind the website

t h e w e b p a g e t e m p l a t e d e s i g n e d b y C a lv i n , v i e w enlarged @ http://dogme95collective.gdnm. org/2011/10/12/collab-lab-web-design-draft/

user info on the screen as to inform of any messages from collaborators. I added the function of being able to view who as been part of the team and what input they had on the project, with the option of contacting them. The idea being if you think you could add something to their style or vice versa, you could create a t r u ly o r i g i n a l p i e c e o f a r t .

However, I didn’t see the other’s webpages until the presentation and b e c a u s e w e a l l d e s i g n e d t h e m s e p a r a t e ly they didn’t match. I decided to re-design the other webpages so that there was a consistent style throughout the pages.

one of the gallery pages I designed for the website, more viewable @ http://matthewfinnie.gdnm. org/2011/10/16/gallery-webpages/


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R e - d e s i g n s To t h e r i g h t a r e 2 o f t h e e x a m p l e s o f the re-designs I did for the co(lab)² webpages. Using the gallery pages I designed as a template I re-made the layouts of the other’s so that I had a consistent design. For the documentary I wanted to show the website in situ, so I did a quick html file and placed the image in the body. In the future we might pursue this Idea further and create the website, as the feedback from the class was successful and they thought the idea was promising.

homepage and collaboration page re-designs, the rest can be viewed @ http://matthewfinnie.gdnm. org/2011/11/13/colab%C2%B2-webpage-redesign/

D o c u m e n t a r y

screenshot from the v3 documentary viewable @ matthewfinnie.gdnm.org/2011/12/12/manifesto-making-of-v3final/

After the feedback on my documentary I went through 2 different edits to end up with my final (all viewable on my blog). Feedback I received for the original edit was that the interview volume ( s p e c i f i c a l ly D a r i u s ’ ) w a s t o l o w a n d clashed with the background music at times. I also received feedback that the music I used didn’t provide the right tone for the video. I addressed all these issues in the 2nd edit but there were still some little details that I wanted to change. For the third, and final, edit I re-arranged a few of the clips and

changed the intro of the video. I started with a black screen rather than the walking footage, as it would provide a better intro to the documentary. I also changed the song and added in footage of the webpage in situ.


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R e s e a r c h T H E F U N T H E O RY . C O M When we first received the brief for the expanded interface brief I immed i a t e ly t h o u g h t o f t h e f u n t h e o r y a n d their interfaces. What I took away from their projects was that they take everyday mundane activities, such as taking the stairs or using a b i n , a n d m a ke t h e m e nj o y a b l e a n d i n teractive. They also have a surprise aspect about them, which intrigue and draw people in.

thefuntheory.com “the worlds deepest bin” can be viewed @ h t t p : / / w w w. y o u t u b e . c o m / w a t c h ? v = c b E K A w C o C Kw

R A FA E L LO Z A N O - H E M M E R Like thefuntheory Hemmer uses the “play” aspect to integrate users into using his interfaces. However, unlike thefuntheroy Hemmer often uses

shadows in his interfaces, which gives the sense of “finding” or being part of the interface. What I took from Hemmer is that he isn’t literal with his interface, but it is still coherent what it is. KINECT HAND DETECTION I also looked at a GUI based interface based on the Minority Report interface using the Kinect. I liked the physical input to digital output.

More research can be found on my blog.

R e f e r e n c e Before I started generating some ideas we, in groups, discussed attributes attached to conventional and expanded interfaces. As to get a better understanding for what goes into an interface for it to be expanded. When I was stuck with the initial ideas and development stages I used these mind maps as a reference to help take my designs further. From the research and these mind maps I knew I wanted to do something with a physical input and a digital output with the a i m o f s o lv i n g a p r o b l e m . enlarged viewable @ http://matthewfinnie.gdnm. org/2011/10/26/expanded-interfaces/


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I had several different ideas for possible expanded interfaces (full list viewable on my blog) but I decided to concentrate on one. The idea I decided on following through on was the interactive mirror, which would make brushing your teeth into a time based game. In reference to my research, I looked at important things that I don’t do, but should do, p r o p e r ly a n d t h a t w a s b r u s h i n g m y teeth. So the interactive mirror was a piece of critical design with the aim of getting people to brush their t e e t h p r o p e r ly . I presented this initial idea to a g r o u p c r i t w i t h s u c c e s s f u l r e s u lt s . However, there were some points raised that I needed to fix. Points raised were that

“ It isn’t clear that this is a game, I thought it was a timer” and “The idea is too literal, funtheory.com don’t say this is a fun rubbish bin, put your rubbish in it” These were important details that needed to be addressed, as e s s e n t i a l ly I d i d n ’ t f o l l o w t h e mind map that I had created as a reference. Eva mentioned that I was putting too much into the interface, pretty much taking the fun out of it. She said

initial idea proposal showcasing how the user would interact with the mirror, proposal with feedback viewable @ http://matthewfinnie.gdnm.org/2011/11/02/presentation-feedback/

that focusing on one particular aspect would be better, e.g. images on the mirror that disappear after brushing. The interface design also had its criticisms, being that the colours, fonts used clashed with the background. For example in the last photo, it is very hard to see the text that is placed in front of my teeth. This could be rectified with a font change or a cover overlay behind the text.

However, taking on board the feedback, and using my research references, I developed this idea further and came up with possible directions in which I could take it.


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D e v e l o p m e n t

scratching sound sketch idea, enlarged and all other developmental sketches viewable @ http://matthewfinnie. g d n m . o r g / 2 0 1 1 / 1 1 / 23 / d e v e l o p m e n t - o f idea/

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In response to the feedback received, I developed my idea into three possible areas (all viewable on blog) and the images on the left are the option I chose to use. The idea was that the movement of brushing your teeth would generate a sound. That sound would be s c r a t c h i n g , a s i n f r o m a Dj deck. However, this still had its problems. The action of scratching focuses on the movement of one specific area, so in an essence I wouldn’t be encouraging people to clean

their teeth in the correct manner. It was suggested that I look into different sounds that could be generated. Darius told me of a video called THE BALL OF DUB, which used an accelerometer to create dubsetp. Ta k i n g t h a t i n t o c o n s i d e r a t i o n and everything else I was told I developed the idea further to get my final idea.

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Drawing inspiration from THE BALL OF DUB, I decided to generate dubstep sounds from the movement of the toothbrush. The pitch, being controlled by a side to side motion and the frequency being controlled by a back to front motion. Looking at tracking software I t h o u g h t t h a t u s i n g a X B OX KINECT would be the best way to implement my idea, as unlike webcams it can detect depth.

The next stage was experimentation and using t h e X B OX K I N E C T I p l a n n e d on trying depth tracking and creating a sound output using PROCESSING.

theremin, info viewable @ http:// matthewfinnie.gdnm.org/2011/11/07/ theremin/

http://matthewfinnie.gdnm. o r g / 2 0 1 1 / 1 1 / 23 / d e v e l o p m e n t - o f idea/


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Using the KINECT and a processing l i b r a r y c r e a t e d b y DA N I E L S H I F F M A N I edited an example to try to track the nearest point, within a set range, using a for loop. This however, didn’t work out so well as the Kinect was having trouble detecting one pixel out of over 2000. Lighting also had an effect on the tracking and I found the size of the screen to be quite small to work with. A lt h o u g h t h e d e p t h t r a c ke r d i d n ’ t work out as planned. The idea behind it was to use the depth tracking to determine the difference between the movement of the hand and the

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position of the face/mouth. I did however find a piece of software called KINECT JESTURE which allows you to control the mouse using your hand movements, which I could use to control the sound output rather than using the depth tracker (which didn’t e v e n w o r k p r o p e r ly ) .

O u t p u t

video viewable @ http://matthewfinnie.gdnm. org/2011/11/27/experiment-2-sound-output-v1/ or personal website

video viewable @ http://matthewfinnie.gdnm. org/2011/11/27/experiment-1-depth-tracking/ or personal website

video viewable @ http://matthewfinnie.gdnm. org/2011/11/27/experiment-2-sound-output-v2/ or personal website

From the knowledge gained from processing workshops last year, I made a simple sound output file using a minim input and a sine wave. I controlled the mouse in 2 different w a y s . 1 u s i n g a W II R E M OT E ’ s accelerometer to represent the t o o t h b r u s h , u s i n g DA RW II N R E M OT E . And 2 using KINECT JESTURE to follow the motion of the hand to c o n t r o l t h e m o u s e . T h i s i s e s s e n t i a l ly how I wanted my interface to work but I wanted it to be a bit sharper and feel more intuitive so I looked into using skeleton tracking to follow the motion of a hand.


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Tr a c k i n g After the depth tracker failed there were 2 options I could do, either use a led on a toothbrush and track it using an infrared camera or use skeleton tracking to follow the motion of the hand. As you can see by the title and image on the left, I went for the latter. I ported OPENNI and OPEN FRAMEWORKS to my macbook to be a b l e t o u s e O S C E L E TO N , a s ke l e t o n tracking app that outputs OSC messages. Using the processing example provided I edited the s k e l e t o n t o o n ly c o n c e n t r a t e o n t h e elbow to hand bone on 1 arm so that

it could track the motion created from this area. However, I came across a problem. T h e S ke lt o n n o l o n g e r w o r ke d o n c e I edited it and I couldn’t work out how to get it to work. So I searched for other software I could use and I came across TUIO, software developed to talk between touch screens and processing, which had been modified to work with Kinect.

video viewable @ http://matthewfinnie.gdnm. org/2011/11/30/experiment-3-skeleton-hand-tracking/ or personal website

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Using TUIO I inputted the messages from TUIOKINECT (software that allows depth from KINECT to be turned into a touch screen) and used it to control the mouse. The mouse movement in turn controlled the sound output from the processing file, which I changed to an 8-bit style sound. I also added ellipses that followed the cursors as I sometimes lost track of the cursor w h e n p r e v i o u s ly t r y i n g t h i s . I then inputted the video feed from the KINECT as to give a mirror

effect. However, this clashed with the TUIO client as I couldn’t run the two at the same time, problem being they both required a video feed from the KINECT. Even without the video feed you still get the idea of what I was trying to accomplish.

video viewable @ http://matthewfinnie.gdnm. org/2011/12/13/final-experiment-combination-ofexperiments/ or personal website


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I wanted to create a short just to show how my interface would work i f i t w a s t o b e m a d e . A lt h o u g h I w a s successful in my final experiment it still needs some work on it, e.g. I substituted the dubstep for an 8 - b i t s o u n d , m a i n ly d u e t o t h e f a c t that I had no idea how to do so in processing. This video is a better representation of what I wanted my interface to do. The video shows what I was aiming to accomplish with the experiments I p r o d u c e d a n d a lt h o u g h I d i d n ’ t g e t t o this point, I am happy with what I did get finished. I’d never used a KINECT

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before so the coding was a steep learning curve, along with using OSC M E S S AG E S a n d T U I O . G i v e n m o r e t i m e I w o u l d m o s t l i k e ly re-film the video and get someone else to be in it, instead of myself.

video viewable @ http://matthewfinnie.gdnm.org/2011/12/14/ dubstep-toothbrush-short/ or personal website

Te s t i n g

video viewable @ http://matthewfinnie.gdnm. org/2011/12/13/user-testing/ or personal website

I g o t A n d r e w a n d Ko n r a d t o t e s t o u t my final experiment, as up until this p o i n t i t h a s b e e n o n ly m e w h o h a s t e s t e d o u t t h e e x p e r i m e n t s . To s e e i f i t w a s t r u ly i n t u i t i v e I w a n t e d someone who hasn’t seen what I’ve been doing to try it out. T h e y b o t h s e e m e d t o e nj o y t h e interaction and did it a lot longer than I was expecting them to. However, at first I had to direct them on how to use the TUIOKINECT as it wasn’t clear what needed to be calibrated. Apart from that I feel that it went pretty well, with Ko n r a d e v e n s u g g e s t e d c o n n e c t i n g a

radio to the processing file, so that movement would change the frequency and once a station was found it would stay. O v e r a l l I t h i n k t h e y e nj o y e d t h e interaction, you can see them smiling in the video. One criticism they had was that over an exposed amount of time, the sound could get annoying. But as I stated earlier, the 8-bit s o u n d w a s o n ly a s u b s t i t u t e f o r t h e dubstep.


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We b s i t e Website viewable @ http://mattyfinnie. co.uk/ For the website I wanted it to be sleek and simple. The homepage consists of a navigation bar, logo and fade through image box, that is all. The fade through box consists of images from the latest project, in this the expanded interface project. It’s a small glimpse of what I’ve done, sort of like looking through a window, that’s what I was aiming for anyway. Since I don’t have a logo I’m happy with, a t t h e m o m e n t , I s i m p ly p u t m y n a m e a s a footer. I am having some trouble with c o d i n g t h e f o o t e r a s i t d o e s n ’ t a lw a y s s t a y at the bottom of the page. Once I create a l o g o i t w i l l m o s t l i k e ly b e s i t u a t e d i n t h e top left corner, like in my sketch. I used a shadowbox for the experiment v i d e o s w h i c h I f o u n d @ h t t p : / / w w w. s h a d o w b o x - j s . c o m / . At f i r s t I w a s n ’ t a b l e to get out of it what I wanted but in the end it worked out all right. In the future I am aiming to have a drop down box, in the navigation unit, that will lead you to either uni work or my personal work (portfolio) were the expanded i n t e r f a c e b a r i s c u r r e n t ly p l a c e d . T h e u n i work section will be broken down into years and then projects. I am debating whether or not I should place all of the projects into the website or just the projects I am fond of. Overall I feel that my website works pretty well for my first try. It is simple

quick sketch I did for the web layout view enlarged @ http://matthewfinnie.gdnm. org/2011/11/30/website-homepage-sketches/

indeisgn draft I used as reference when making the site, view enlarged @ http://matthewfinnie.gdnm. org/2011/12/12/website-indesign-draft/

a n d e a s y t o u s e , a lt h o u g h l o o k i n g a t i t now I could perhaps increase the font of the navigation bar or add a background to it. I a m c u r r e n t ly w o r k i n g o n a d d i n g a “shuffle” function to the fade through box on the homepage so that it can r a n d o m ly u s e i m a g e s f r o m m y i m g f o l d e r . C u r r e n t ly i t o n ly a c c e s s e s f i l e s I h a v e coded instead of a random selection, which is what I am aiming for.

view full site @ http://mattyfinnie.co.uk/, click on expanded interfaces directory for experiment videos


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p i r a c y i t ’ s a c r i m e c a m p a i g n , v i e w a b l e @ h t t p : / / w w w. y o u t u b e . c o m / w a t c h ? v = l5 S m r H N W h a k

From reading through the brief there were a few words that were repeated and stood out to me. These words were: encourage the audience, respect copyright, across whatever platform (appropriate f o r m u lt i p l e p l a t f o r m s ) a n d c e l e b r a t e t h e originality of cinema. After being given this brief on piracy, the PIRACY IT’S A CRIME campaign above was the first thing that popped into my head and I remembered how annoying and patronising it was. Where this differs from t h e c u r r e n t M O M E N T S W O R T H PAY I N G F O R (MWPF) campaign is that it encourages rather than discourages.

m o m e n t s w o r t h p a y i n g f o r c a m p a i g n , v i e w a b l e @ h t t p : / / w w w. copyrightaware.co.uk/about-the-industry-trust/mwpf/moments-worthpaying-for-videos.asp

MWPF encourages people to go the cinema rather than discouraging them from i l l e g a l ly d o w n l o a d i n g . M W P F s h o w s t h e expressions of the cinemagoers and the experience of watching the film, which unlike the film can’t be replicated. MWPF worked on several different platforms with posters and adverts being made, a lt h o u g h I f i n d i t q u i t e i r o n i c t h a t I ’ v e seen this advert being played in cinemas when they’re trying to reach people who i l l e g a l ly d o w n l o a d f i l m s . From this campaign I decided that I wanted my campaign to be pro cinema/anti piracy. To s h o w t h e d i f f e r e n c e i n q u a l i t y a n d

experience between watching a film in the cinema and downloading it and watching it at home.

More research can be found on my blog.


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A d v e r t i si n g

With the rise of the Internet, piracy has become a bigger and more prevalent problem. Through using the Internet it distances the user from the act of piracy. Because they a r e n o t p s y c h i c a l ly d o i n g a n y t h i n g , the act of clicking a download button doesn’t seem like a crime and therefore doesn’t seem to have any consequences. So because the Internet is where the act of piracy i s m o s t ly s e e n , I t h i n k t h i s i s t h e best place to reach the “riskies” and “dabblers” (illegal downloaders) through VIRAL ADVERTISING.

looking at examples of viral advertising I came across this advert for The Last Exorcism (a horror film). This advert used the Chat Roulette as a platform to give their message. They did so in a way that was unexpected and shocking. Doing so brought their film to a whole new a u d i e n c e a n d b u i lt u p a b u z z f o r t h e movie. By using viral advertising for my campaign I wish to reach the users of t h e i n t e r n e t w h o i l l e g a l ly d o w n l o a d in a way that they are not expecting. t h e l a s t e x o r c i s m c h a t r o u l e t t e s c e n e s , v i e w @ h t t p : / / w w w. y o u t u b e . c o m / w a t c h ? v = C N S a u r w 6 E_Q

I n i t i a l

I d e a s I started by looking at aspects of cinema that couldn’t be copied by piracy and the main one was atmosphere, so I concentrated on that and came up with the phrase “you had to be there”. My plan was to have 2 friends talking, 1 shows the other some footage of an event (e.g. a music gig) and says the words “you had to be there”. The idea being you can copy the content but you can’t copy the atmosphere. However I couldn’t think of a way to use this in the context of cinema. So I went back to mind maps and mapped out what I thought made pirated copies inferior to going to the cinema.

view mind maps enlarged @ http://matthewfinnie. gdnm.org/2011/12/12/initial-ideas-2/


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P RO P O S A L After looking at the differences between pirated versions and the original I came to realise that the main difference was that one was real and the other fake. This is what I wanted to come across in my campaign and it made me think of the phrase “ k e e p i t r e a l ” . To “ k e e p i t r e a l ” m e a n s to be true to yourself and not be fake. I thought of recreating famous, wellknown scenes from films and doing so i n a b a d ly d o n e / l o w q u a l i t y w a y . W i t h the tagline KEEP IT REAL: pro film/ anti piracy enlarged version viewable @ http://matthewfinnie. gdnm.org/2011/12/14/new-idea/

r ec r e a t i o n

enlarged version viewable @ http://matthewfinnie. gdnm.org/2011/12/14/memorable-film-scenes/

e x am p l e s Some examples of famous scenes being re-created. I researched the most memorable film moments (above) and these will be the ones I’ll propose to re-create.

american beauty scene recreated with lego, enlarged @ http://matthewfinnie.gdnm. org/2011/12/14/recreation/

famous scene from singing in the rain, recreated in t h i s Vo l k s w a g e n a d v e r t .


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c o n t .

The ad would work by re-creating a famous scene in a low quality way, but with enough of a resemblance that it is still recognisable what film it is from. Clips like these already e x i s t o n Yo uTu b e ; t h e r e f o r e p e o p l e will click on them not expecting them to be anti piracy ads. E.g. the screenshot below is a screenshot of a re-creation of titanic a l r e a d y o n Yo uTu b e . T h i s i s b a s i c a l l y what I am proposing to do, a scene s u m m a r i s e d p o o r ly w i t h i n u n d e r a minute with the tagline: KEEP IT REAL, pro film / anti piracy

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I propose that the ads be distributed not via television or cinema but v i r a l l y , u s i n g Yo uTu b e a s a p l a t f o r m . This would reach the target audience better than conventional distributions.

tagline to be used at the end of the ads

movies in minutes: titanic by nigahiga, v i e w @ h t t p : / / w w w. y o u t u b e . c o m / watch?v=6JLcJ5Mez1c

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Yr2 Sem1 Portfolio