Adventures in Virtual: James Marley's Film Arts FMP Journal by James Marley

Ad entures in

virtual

James Marley

FdA Film Arts Film Arts Consolidation

FMP JOURNAL Also on my blog @ http://jmfilmartsfinalmajor.blogspot.com/ Ideas 

Had discussion about using IMVU (Instant Messaging in Virtual Universe) as an idea to document / create a persona – a fake person or persons to enter into the IMVU world under specific and scripted directions to monitor and record others reactions to these avatars.

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I could create a script / or use a predetermined or all ready written script to provoke a reaction from other users – the responses can only be unpredictable but guided I think by the content of my own script. – For example fake avatars are overly aggressive / emotional / forwards to other avatars – then their responses are kind of expected being that I have been playing this for a while.

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Possible scenarios – make my avatars be ‘loving’ and ask all they come across to partner or marry – be anti social – swearing (to note the filter) / anti or negative comments - // aim to be uber popular //

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How would I record this? 1) Filming a screen – or photographing screens giving me some control on zoom and macro – or maybe get the program running on a much bigger screen – perhaps the studio theatre or similar I could record the speech bubble - use audio recording to back up the speech texts – centering around -

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Investigate other or similar sites

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Idea to be filmed or looked at ‘comic book’ style – ref:

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Creating a representation of flowing film from 2 dimensional situations – ref again to animated comic books – web addresses / images

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Could be serialised - 5mins perhaps – recording avatar interactions that I aim to manipulate. Start a romance – get myself banned or hated – break all the rules – involve a script

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Research: look at groups I’m already involved in and record already gather responses - to know what its like already – search out other sites –

James Marley

FdA Film Arts Film Arts Consolidation

1st March 2011 I signed up new IMVU account and virtual avatar. 500 free promotional credits earned on joining to start off. User name: Diabolikoloid. Email signed up with: jmarley1@hotmail.co.uk “How do you get IMVU? Users can access IMVU by going to IMVU.com, registering and selecting a personal avatar. They can then easily customize their avatars by purchasing items from IMVU's virtual goods catalog.” (http://www.imvu.com/about/faq.php)

I looked up ‘ugly’ avatar bodies and skins in IMVU’s product catalogue. I may go against the whole vision of perfect human form preferred by most users. Something totally diabolical 4th March 2011 Synopsis / Treatment / refining the idea It is my intent to create using the avatar-based 3D virtual environment website, IMVU ~pron~ im-vu (Instant Messaging in Virtual Universe) virtual actors – these will be IMVU avatars. As actors I can dress them and make them appear as I want. More about IMVU “IMVU is an online social entertainment destination where members use 3D avatars to meet new people, chat, create and play games with their friends. IMVU has more than 50 million registered users, more than 10 million unique visitors per month and a $40+ million annualized revenue run rate. IMVU has the world's largest virtual goods catalog of more than six million items with approximately 7,000 new items added every day - almost all of which are created by its own members. The virtual goods catalog consists of everything from 2D stickers to detailed 3D items like virtual jewelry, clothing, hair, cars and other fun items that help IMVU community members create an IMVU identity as unique as their own”.…………..“IMVU is free to use, and

James Marley

FdA Film Arts Film Arts Consolidation

we provide 1,000 promotional credits (virtual currency) to get you started. If you want to purchase additional digital products to make your experience more personal and unique, you can do so by purchasing virtual credits and buying digital goods from our digital goods catalog.” (http://www.imvu.com/about/faq.php)

I am using two characters from two different e-mail addresses I signed up with (as is necessary for this to happen). The IMVU site offers virtual rooms (created by other members) where I can sort out ‘locations’ such as:

Lounges /

mansions /

multi roomed houses /

ballrooms /

clubs / street scenes /

beaches / (replicating a film set within the virtual world):

fantasy / sci-fi

“Design and Decorate Your Space - Create the experience you've always wanted. Pick your scene, furniture and accessories and then use them to decorate your own 3D space. Invite other members to visit your room.” (http://www.imvu.com/about/product.php)

Some come with furniture included, though not all or always with much. Empty is cheaper & better for customising. 4

James Marley

FdA Film Arts Film Arts Consolidation

The characters will interact will each other (via my control – or two people operating at same time – under my (direction) – me = director - (virtual puppet show) Can create fight scenes (with a lot of visual referencing – actual violence is seen, though no blood) Can create love scenes or scenes of a sexual nature – even if it’s suggestive (kissing actions / make clothes disappear – be in a bed room. Character actions –  Greet (bow + Asian style / curtsey / shake hand)  Flirt (kiss / hug / romantic swoop)  Taunt (grab nose / make faces)  Violence (punch / tackle / chop) The first four groups listed above can only be used with another user/avatar available to interact with. 

Moods (sad / old / tired / default / happy) each mood is reflected via a character stance)

 Expressions – (smiles + others)  Buying extra character actions/triggers – trigger poses (e.g. Elvis or M  Jackson) packaged various triggers – cost £10 = 10,000 credits  Averaging @ 500-1000 credits per virtual pose / item. Character looks / shapes / clothing / age. Mostly when people use the IMVU they tend to replicate their attempts at individuality with their avatars, yet also perfect body or celeb aspirations – the site can replicate or seem similar to something like Stepford Wives. SO UNREAL! My characters will be designed to appear more like regular average ‘Joe’ people (taking into consideration the limitations of the catalogue) – or something totally outrageous / freakish Currently Under development

James Marley

FdA Film Arts Film Arts Consolidation

Dialogue / script / audio Having taken a look at the potential character actions – this I feel gives me quite a large scope on scripts. I have not the time to create my own scripts from scratch – but will source or research something that would fit the scene. e.g. 

Fight scene (Enter the Dragon, Fight Club, Pulp Fiction, V for Vendetta)

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Romantic scene

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Suggestive sexual scene

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Perhaps a couple with mixed relationship problems (I want a divorce / I’m pregnant but it’s not yours (War of the Roses), Death becomes Her / Mr and Mrs smith / Truman Show))

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Something that mixes these

Audio dialogue – Recorded scripted dialogue and layer into film – would need to find voice characters – or use audio manipulation software or use actors. Filming 

Run the IMVU program through computer attached to a projector onto white non reflective surface or use a screen recorder/capture on computer

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Interface the two characters (using another computer for the other character)

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Enter both characters in same IMVU room.

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Run the scene (using story boards – perhaps influenced by original film scenes)

James Marley

FdA Film Arts Film Arts Consolidation

07th March 2011 Gathered room & action snapshots Pose Spots (Usable by all who enter room I/users have them placed in) Some static, some animated 

Dances (single / couple) – (Hip-Hop or R&B / Club / Ballroom styles / Latin / Country / etc)

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Romantic (laying / cuddling / embracing

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Vehicles / Rides (Fully Static / Animated if in driver’s seat/multiple spots /some with trigger (typed) commands.

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Swimming

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Walking

10th March 2011. Character creating process – on IMVU 

Choose a base design from the choices available – i.e. male or female – up to six different choices available for each gender

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After selecting base design sign up or register to IMVU as new user –

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You now have a personal IMVU account with your own home page and avatar.

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Download the IMVU 3d chat client – this is the program software that enables direct talking similar to windows messenger, plus all the 3D Room features.

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IMVU membership is free of charge

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The characters come with a ‘free’ basic inventory – comprising of bland clothing to get you by – and some accessories – also some hairstyles & skins.

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To get more than the basic inventory the user or player must buy or earn credits, which are used within the game for buying more exclusive items. 7

James Marley

FdA Film Arts Film Arts Consolidation

“If you want to purchase additional digital products to make your experience more personal and unique, you can do so by purchasing virtual credits and buying digital goods from our digital goods catalog.” (http://www.imvu.com/about/faq.php)

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The credit situation – the user spends ‘real’ cash to buy virtual credits e.g. $5.00 = approx. £3 with exchange for 5000 real purchased credits. This is obviously the most instant way to get the exact credits you want, when you want, but for a price. o However, if a user doesn’t wish to pay, they can also earn real credits for free by completing partner surveys & offers, joining other sites within the website, reviewing virtual products & creating & selling virtual products. o They also offer a free secondary currency ‘promotional’ credits or ‘predits’ (which can’t be used to purchase gifts to others) that user’s can be earned by referring / inviting friends (500 predits for joining, 500 predits –for new invited members first ‘online chat, and again 500 predits for new members fifth consecutive online chats). I intend to avoid paying any real cost through using these routes. o However, if a user has already purchased real ‘purchased’ credits the site will not let that user spend their free ‘promotional credits/predits’, until they have spent up all they’re purchased ‘credits’ first. So, there’s the catch, as I have recently found out to my dismay! o Free ‘promotional credits’ can also be earned through joining (as I have) ‘myYearbook’ – which is an affiliated social networking site (I find this is the best way for earning credits) – they have a virtual currency exchange – where through the affiliation with IMVU, online users can exchange e.g. L$100,000 myYearbook ‘lunch money’ (abbreviated as L$)’ in exchange for 500 IMVU promotional credits once a day. o

“What is Currency Connect? - Currency Connect is a service that allows myYearbook members to exchange virtual currency among partner websites. In the real world, currency exchanges exist as a way for people to move their money from one country's currency to another… Currency Connect works the same way. It allows myYearbook members to

James Marley

FdA Film Arts Film Arts Consolidation exchange their Lunch Money in order to perform activities on other sites they visit.” (http://help.myyearbook.com/category/currencyconnect/)

o So, if kept up for 10 days it will earn me 5000 Credits. (Providing that you of course have a myYearbook account for each & the necessary L$ earned [in much the same way as IMVU] by:        

“Log in every day Browse the site Find your Secret Admirers in Match Play Games Buy and sell photos in Owned! Invite friends to myYearbook Win Battles Buy it with your cell phone or credit card, or complete offers”

(http://help.myyearbook.com/category/lunchmoney/)

[Some are commercials from TV]

James Marley

FdA Film Arts Film Arts Consolidation

I will just use the free partner offers that are shown all over the site, as these earn users most without paying for L$. Another way I built up “lunchmoney” quickly was by using the downloaded myYearbook toolbar, which earns me 25,000 lunchmoney by searching up to 10 websites once a day). 

IMVU Credit value – what does it buy you? Virtual products from the IMVU product catalogue. Users are encouraged to browse, and purchase from the catalogue to ‘personalize and enhance their virtual scene / avatar – therefore credits (used like virtual cash) can be used to buy anything we’d buy in the actual world, to enhance our lives, but by being a virtual world things can be bought that are not available anywhere except virtually, e.g. skin colour, heads.

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Credit value = e.g. 500 credits will buy items at basic range, small accessories or low quality, but still individualized clothing, + simplistic avatar ‘actions’ – this is kind of the cheapest end of the virtual product buying situation – whole wardrobes (of clothing) would cost in region of 5000 credits – additional accessories such as guns = from 500 credits. – Users can also ‘buy’ additional ‘fighting’ or ‘dancing’ trigger moves. @ 500 – 2000 credits depending on the complexity of the moves – furniture ranges from 500 to several thousand credits – whole rooms of ‘ready’ sorted furniture up to thousands of credits – ‘bundles’ like rooms with furniture + landscaped gardens + wardrobes + pose spots all are the most costly items – some of which are exclusive ‘real’ cash only bundles. Though some products are so limited edition that they are in the millions of credits (These are products that our occasionally given out for free to long term customers, so explaining the millions price).

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I intend to stick with products within the 500-2000 credits price range, and only what I need for my film.

James Marley

FdA Film Arts Film Arts Consolidation

VIRTUAL STUDIOS “Adventures In Virtual” 

Two characters / actors have been created – male and female –

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Email addresses for these avatars

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Available credits to spend within the project is approx’ 4000 at start

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Male = Diabolikaloid (or may change to just using my already created & well developed male avatar account whizzkid1, which I have had for two years) + Female = Crystal Rosaline are their online names – Avatar names for the purposes of the IMVU site.

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I have chosen at this stage to have a male and female character / avatar – In this I am also looking at matching appropriate scripts / or dialogue to the ‘actors’

SCRIPT IDEAS "TOTAL RECALL" Screen Story and Screenplay Fifth Revision by Ronald Shusett and Steven Pressfield http://www.imsdb.com/scripts/Total-Recall.html

INT. QUAIL'S APARTMENT - EVENING Kirsten is watching another pornographic video when Quail bursts in. He is still disoriented. QUAIL Did you know I've been to Mars? Kirsten gets up and turns off the movie. What!

KIRSTEN This stupid obsess...

QUAIL (interrupting) I think I've been. I vaguely recall...

James Marley

FdA Film Arts Film Arts Consolidation KIRSTEN Doug, you've got to forget... QUAIL (interrupting) Forget? Remembering is the problem I must've been to one of those artificial memory places... KIRSTEN Oh my God... QUAIL But something went wrong... something about a real memory... and then those men... tried to kill me. What men?

KIRSTEN Doug, you're crazy.

She starts to mix a drink from a well-stocked cabinet. KIRSTEN (continuing) You're here now. They didn't kill you. QUAIL No. That's what's so amazing. I killed them. I think... Kirsten stops pouring her drink and look at him sharply. Where?

KIRSTEN Where are they?

Quail points down with his finger. KIRSTEN (continuing) Doug! It's something they put into your mind at the memory place. Fantasies. That's their business. She sips her drink. KIRSTEN (continuing) You're a computer operator. You're a bore. You're a wimp. You're not a killer. QUAIL I'm involved somehow with E.I.O. It's true. It's no fantasy. He walks around the apartment drawing curtains and putting out the lights.

James Marley

FdA Film Arts Film Arts Consolidation KIRSTEN Doug, I want you to see a doctor. Now Alec and Shirley Turnbull have a good man. He helped Alec through his breakdown. QUAIL For fuck's sake, this is no breakdown!

Kirsten is taken aback at his use of language. He strides into the bathroom and slams the door. She turns on one lamp, goes to a telephone and dials. INT. BATHROOM - TWILIGHT Quail takes a washcloth, turns the hot water up full and soaks the cloth under the steaming water. Using it as a compress, he presses it against his face and his neck, to drain off some of the tension. He turns off the water. bathroom door.

Towelling his head dry, he opens the

The instant he does this, a blinding white BURST OF LIGHT comes arcing into the bathroom, and the back wall crinkles and CHARS into a swatch of blackness. QUAIL DIVES OUT THE DOOR, just as ANOTHER BOLT incinerates the spot where he was standing. INT. LIVING ROOM - TWILIGHT THE ROOM IS IN TOTAL DARKNESS. The only thing visible is the pale rectangle of the balcony window, with the curtains drawn over it. QUAIL and his ASSAILANT cannot be seen -- but they can be HEARD. There is the sound of a SCUFFLE -- the meaty THUD of a FIST CONNECTING WITH FLESH -- and a painful GRUNT as someone's breath whooshes out. The LIGHT COMES ON. Quail is standing with one hand on the lamp, and the other twisting KIRSTEN's arm up behind herback. A pistol lies on the floor. Quail is totally stunned. He releases her arm, shoving her away from him, at the same time scooping up the pistol. QUAIL My God! Did you say I need a psychiatrist? KIRSTEN (coolly) I haven't seen you move that fast since I've known you. QUAIL (outraged)

James Marley

FdA Film Arts Film Arts Consolidation How could you do it? eight years!

After

KIRSTEN I'm not your wife, Quail. QUAIL You are out of

Not my wife! your mind.

KIRSTEN (indifferent; nursing her arm) It's a false memory implant. I never saw you before six weeks ago. Quail is totally disoriented. QUAIL Why are you lying like this? KIRSTEN No, Quail. It's true. You work for E.I.O. So do I. As she speaks, she walks to a picture on the wall and from behind it pulls out a small wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". QUAIL (indicating their surroundings) But why all of this? KIRSTEN (shrugging) We had to watchdog you...make sure the erasure took. A wife seemed like a good idea. QUAIL But I remember it! All of it!... Us! KIRSTEN All implanted. QUAIL Our friends... my work... eight years. KIRSTEN The job's real -- you've had is six weeks -- since you got back from Mars. He sits down, holds his hand to his head. KIRSTEN (continuing) It's all a fabrication, Quail.

James Marley

FdA Film Arts Film Arts Consolidation Everything you know. QUAIL This is crazy! If all my memories are false, who am I? What am I? Jesus... it's like I don't exist. KIRSTEN You exist, all right. (very cold) That's the problem.

A pause as Quail mentally gropes frantically, for what to do next. QUAIL Why did you try to kill me? Why does E.I.O. want me dead? KIRSTEN They don't particularly. That was my idea. This assignment was boring me to death. The personality they gave you wasn't too thrilling. QUAIL Well, what did I do on Mars that they have to keep me from telling? I've no idea. here.

KIRSTEN I just work

QUAIL All right... I'm leaving. Don't try and follow me -KIRSTEN I don't have to follow you. You can't get away from E.I.O. Nobody does. Quail looks at her as if seeing her for the first time. QUAIL No wonder you got the role as my bitchy wife -- type casting. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS.

James Marley

FdA Film Arts Film Arts Consolidation

V FOR VENDETTA (Original) Written by Larry and Andy Wachowski Based on the graphic novel by Alan Moore http://www.imsdb.com/Movie%20Scripts/V%20for%20Vendetta%20Script.html EXT.

CITY STREET

Close on Evey's high heels, stumbling and awkward as she walks down a dark cobblestoned street. EXT.

CITY STREET

Close on V's boots walking in the opposite direction so that it seems they are walking towards each other. EVEY (V.O.) I don't know what brought us together that night. I had never been to that part of Westminster but ever since I've known him, I've stopped believing in coincidence. EXT.

CITY STREET

Evey looks up and sees a man standing mostly in shadow. Excuse me? Mister? The man turns around.

EVEY Uh... excuse me,

It is not V.

EVEY Would you like... uh, would you like to sleep with me? He smiles. EVEY I mean, for money. MAN That is the clumsiest bit of propositioning I've ever heard. EVEY

James Marley

FdA Film Arts Film Arts Consolidation Oh god, I'm sorry. MAN Is this your first time, darling? EVEY Yes, no, I mean for money. But I know what you want and I'll do it.

She presses her body to his, using her little girl eyes and her woman's mouth. EVEY Anything you want, mister. Please, I need the money. I know I'm young but I promise I know what I'm doing. MAN No. You don't know what you're doing. He pulls out his wallet and shows her a badge. The sight of it knocks the breath out of her. EVEY Christ, you're a Fingerman. FINGERMAN 1 Give the little lady a prize. FINGERMAN 2 I've got something to give her. Evey turns and there are more Fingermen behind her. FINGERMAN 1 Prostitution is a class H offense. Know what that means? It means that we get to exercise our own judicial discretion -FINGERMAN 2 And you get to swallow it. The Fingermen laugh.

time.

EVEY Oh god, please. Please don't hurt me.

innocent eyes.

It's my first

FINGERMAN 1 Gosh, fellas, look at those big What do you think?

FINGERMAN 3 Spare the rod, spoil the child. Fingerman 2 laughs hard as he drops his pants. EVEY

James Marley

FdA Film Arts Film Arts Consolidation Oh no!

He shoves her face first against a brick wall, lifting her dress to expose her bottom. EVEY Please, don't! FINGERMAN 3 You heard the man, sweetie. rod's for your own good.

This

Suddenly, they are no longer alone. V "The multiplying villainies of nature do swarm upon him." FINGERMAN 3 What the hell -V "And fortune, on his damned quarrel, smiling, showed like a rebel's whore." FINGERMAN 1 We're police officers, pal. FINGERMAN 4 We're with the Finger. FINGERMAN 3 So bugger off! V "Disdaining fortune with his brandished steel, which smoked with bloody execution." In the clenched fist of black leather, we see a flash of steel. FINGERMAN 1 He's got a knife! V attacks and at once we know this is no normal human being. A single blow sends the largest of the Fingermen flying backwards. But more than his strength, it is his speed. A gun is cocked but before the hammer falls, a knife is buried in the Fingerman's chest and -Before the body falls, the knife is gone. It takes a handful of seconds and three bodies lay on the ground. V turns to the last Fingerman who is struggling to pull his pants up. FINGERMAN 3

James Marley

FdA Film Arts Film Arts Consolidation Jesus Christ!

Don't hurt me!

V steps forward and he screams, bolting while holding his pants up. V Good evening. EVEY Who -- Who are you? V Me? I imagine all manner of names shall be heaped upon my humble visage but, for now, let us simply say I am the villain. *possibly use the final version of this speech: “Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is it vestige of the voxpopuli, now vacant, vanished, as the once vital voice of the verisimilitude now venerates what they once vilified. However,

this

valorous

visitation

by-gone

vexation,

stands

vivified, and has vowed to vanquish these venal and virulent vermin van-guarding vice and vouchsafing the violently vicious and voracious violation of volition. The only verdict is vengeance; a vendetta, held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous. Verily, this vichyssoise of verbiage veers most verbose vis-à-vis an introduction, and so it is my very good honor to meet you and you may call me V”

He throws wide his cloak and bows deeply to her. V And you would be? EVEY Evey. V Of course. They hear sirens rushing towards them. In a blink, he scoopsher up and dashes into the shadows of a narrow alleyway. EXT.

ROOFTOPS

Police cars and several ambulances swarm over the area with

James Marley

FdA Film Arts Film Arts Consolidation

the dead Fingermen. V watches them from above. EVEY Why did you do that? you... help me?

Why did

V Why indeed? He takes out an old antique pocket watch. midnight.

It is almost

V Almost time. EVEY For what? V For the music. EVEY Music? V Yes, music. My music. You see. Evey, I am a performer. EVEY Is that why you're wearing a mask? V We all wear masks. Life creates them and forces us to find the one that fits. Do you know what day it is? EVEY Uh... November fourth. V Not for long. He looks out where, rising above the rooftops, he can see BigBen. V "Remember, remember, the fifth of November, the gunpowder treason and plot. I know of no reason why the gunpowder treason should ever be forgot." The second hand sweeps into the final minute. V Tell me, Evey, what good is an actor that plays his part to an empty theatre?

James Marley

FdA Film Arts Film Arts Consolidation EVEY I don't know. V Nor do I. That's why you are here. I need you, Evey. I need someone to listen. EVEY To your music? Yes.

V Yes, to my music.

From his sleeve, he pulls a conductor's wand. V Can you hear it? begun.

It's already

He begins to lightly tap the wand in the air and, very faintly, we hear it. EVEY I can't hear anything. V At first, you have to listen very carefully... He continues to conduct and we begin to hear the music, violins and horns that seem almost like a whisper or a wind that steadily swells. V Ahh, yes. There it is. is it not?

Beautiful,

He turns to the parapet, his gestures growing grander as the music rises and we recognize Tchaikovsky's 1812 overture. The music mounts a climax and V points the wand at Big Ben as cymbals crash -Big Ben explodes with such force the world seems to shake, while -V, smiling, always smiling, points again with another crescendo and The statue of justice is blown to smithereens. V nods in appreciation while mustering the music towards it's finale as fireworks begin lighting up the sky. EVEY Oh my... Everywhere across the city, people stand transfixed by the dazzling shimmer of the fireworks until -A strobing final blitz leaves a single, starry image floating in the

James Marley

FdA Film Arts Film Arts Consolidation

smoke filled sky. It is the letter V. EVEY It's beautiful... V Thank you. From every direction, the city screams with the panicked sound of sirens. --; continued INT.

SHADOW GALLERY

Evey is wearing a blindfold and V leads her by her fingertips, guiding her almost as if they were dancing... His fingers slip free of her and she reaches out. Wait.

EVEY I've lost you.

V No, you haven't. He is behind her and he removes the blindfold, revealing his house to her. EVEY Oh... It is a labyrinth of interconnecting underground tunnels and rooms. The gallery is the main room as it is filled with an amazing collection of human culture. There is art that spans from the renaissance to the painted covers of Eerie comics, literature that ranges from Shakespeare to Spillane, philosophy from Plato to Bukowski, and a vast collection of nonfiction. There are movie posters everywhere and an entire wall is lined with videocassettes. A jukebox stands in front of an enormous vinyl and CD collection of music. A jukebox?

EVEY Where did you get it?

V I saved it.

Like everything here.

She punches a button and Billie Holiday begins to sing. EVEY Oh, it's beautiful. I've never heard anything like it.

James Marley

FdA Film Arts Film Arts Consolidation V Of course not. You grew up in their world. Art is created by individuals and there are no individuals in a world where you are told what to think. EVEY This place is amazing. V You're welcome to stay.

She stops suddenly and looks at him. The offer is terribly exciting but it is so unlike anything she has ever done that it's almost impossible to imagine. EVEY Stay here... with you? V If you like.

Yes.

EVEY I... I don't even know your name. V I don't have a name. V?

But you can call me V.

EVEY V... I like that.

And she returns his smile. ď&#x201A;ˇ

These represent two ideas that I might use or adapt

James Marley

FdA Film Arts Film Arts Consolidation

15th March 2011 Selecting Rooms that are appropriate with the scripts/ scenes These are the ones I have found or chosen that fit close to what is needed: For Total Recall Apartment scene:

Possibility of layering image in mirror to give impression of reflection

20th March 2011 Otherâ&#x20AC;&#x2122;s attempts at movies using IMVU There have been many films made using IMVU &/or other virtual world websites. Many of these tend to be music videos, which I doubt had permission to the songs use. Also some are used to demonstrate animated virtual products in the product store.

James Marley

FdA Film Arts Film Arts Consolidation

IMVU Music Video MJ Smooth Criminal (http://www.youtube.com/watch?v=DjcB5BMIV2Y&feature=related) Sometimes I come across creatively edited films using the moves & interactions in IMVU. E.g. Silent Hill IMVU Movie - (2007) (http://www.youtube.com/watch?v=edQIC_ShiT8) On reference to this thought it is quite well made & written interpretation of Silent Hill. This is kind of what I hope to achieve with my IMVU based film. IMVU also has its own a movie mode within the 3D Chat Client, which they introduced in 2009, where members can add their own virtual movies using IMVU (Many linked from video sharing websites):

“Posted on 07/27/09 in Uncategorized by Community Manager

This week we are pleased to announce the launch of Movie Mode within 3D Chat! You can download Release 417.0 with Movie Mode here.

You can find Movie Mode easily: 1) Go to your Home Screen in the new 3D Chat, 2) On the Main Menu, click the arrow to the right of Chat Now, 3) Scroll to the next page, and 4) Click the Movie Mode icon. A new tabbed window called the “Movie Lobby” will launch. From here, you can watch exciting sponsored movies and earn free promo credits! We are currently showing “Private”, a new web video series about Easton, an exclusive private boarding school in Connecticut (having brains and money to get in doesn’t necessarily mean you will get out!). We are also showcasing 12 pre-selected community

James Marley

FdA Film Arts Film Arts Consolidation

created IMVU videos in the Movie Lobby. Our goal is to regularly add new videos for your viewing pleasure, as well as eventually give you the ability to vote for your favorite videos and leave comments. Get started on your very own IMVU video today! Submit a link to us at video@imvu.com. We can’t wait to see what you all come up with! Best,  Jami  Sr. Community Manager” (http://blog.imvu.com/new-movie-mode-in-3d-chat/)

For V for Vendetta Alley scene

Thursday 24th – Monday 28th March 2011 I searched for free screen recorders online & downloaded one called CamStudio, to allow video recording of the action in IMVU on my computer. I carried out some test shots of my main avatar in a room and panning motion on IMVU, with the screen recording software to see how well it would work. If this looks good enough, it will save me needing to use a projector, screen & camera, while at the same time giving an experimental approach to filming. To get the screen recorder to record & playback to the correct frame rate and quality was at first a complicated task in settings. This took a while for me to get my head around. Instead of requiring me to type in what frame rate I want it to record at, it instead asked for the number of milliseconds, so leaving me to have work out how many milliseconds is needed for 25 frames/seconds, as in order for the film to playback at the same speed as it’s recorded rate they need to be set at the same frame rates in order to avoid time lapse or warped time.

James Marley

FdA Film Arts Film Arts Consolidation

List of some screen shots required to do the shoot. 

Close up of Evey’s (female avatar) High Heels; Cutting between close up of V’s boots - walking. Split screen.

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Long shot from height of female avatar

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Sound of footsteps on cobbles.

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POV shot for female character (Evey) of man’s (male avatar in role 1) back in mid shot; cut/fading to over shoulder close up. Evey & Man in shot.

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Wide shot of both avatars/characters.

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Man turning to face her.

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Two shot from side.

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Cut to mid close up of Evey’s face.

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Dialogue

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Continuous cutting between shots of each character for respective speech.

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Mid shot of other man (male avatar in role 2); dialogue.

Wednesday 30th March 2011 Downloaded Camtasia Screen Recorder on 30-day trial. This is a more professional, yet simpler to use & comes with editing features, plus the exporting is as straightforward as final cut pro. And it plays back at the true frame rate. 31st March 2011 Tutorial with Andy James – went through all as is up to date – talked over the screen camera business, and where I am experiencing problems – also how many different versions of this I have tried. (With still no really good and satisfactory results grr) Andy suggested that I write down my aims and objectives – and also how my project has morphed or changed from the initial inception – so documenting the changes in the plan. 1st April 2011

James Marley

FdA Film Arts Film Arts Consolidation

Tutorial with Dionne – similar information delivery. Suggested I email / contact Kirsty in I.T. who is all knowing of everything ‘Mac’ - so will do this before I’m next in college perhaps even arrange a meeting. Also contact or talk to someone in games design. Also to do – research talks / debates / discussions (found on-line perhaps) related to my method of virtual film making Cost list for virtual products required for my film (with each IMVU account) as of Sat 2nd April & onwards *1000 credits = $1 = approx. 60p in UK if purchased via IMVU directly / Zero real cost if earned promotional credits (predits).

 Items bought with predits:  For female avatar (Cast as Evey) o Vintage Grey Shoes - 571 predits o Audrey skirt slit, grey – 542 predits o !F~ Grey Wool Peacoat - 505 predits o Curly Light Brown Hair - 771 predits o [c] Black Lace Leggings - 481 predits o [8O8] Basic Walk Female - 479 predits o [KKS] Hot-70 Poses – 388 predits o TF Adorable Avi 1 – 831 predits o ICO Talking Actions - 529 credits Total = 5097 predits

For whizzkid1 (Main Account) Cast as V & Fingerman 2 o Clothing, Skins & Accessories o “Freedom Fighter” Set [V outfit inspired] clothes bought individually (Hat v2, Top, Shoes, Pants / Trousers, Cloak, Gloves and Hair) – Totalling 4023 predits o V – Vendetta Mask - 432 predits o Black Dagger Belt - 1,076 predits

James Marley

FdA Film Arts Film Arts Consolidation

o [8O8] Basic Walk Male - 479 predits o ICO Talking Actions - 529 credits o On Fingerman 2: o Black Leather Jacket V2 - 751 predits o Black Goatee (anyskin!) - 586 predits o Rooms & Furniture o [SXP] CLUB ALLEY – 991 predits o I~DMC JukeBox – 845 predits o [LC] to walk - 1,294 predits Total = 11006 predits

For other male avatar (Cast as Fingerman 1) o [8O8] Basic Walk Male - 479 predits o ICO Talking Actions - 529 predits o [CD] 40 PRO MALE POSES – 880 predits

 Items bought with credits (on whizzkid1) after purchasing 30,000 credits at cost of £10.39 via discount reseller (08-04-2011 incl. receipt) o *B London Penthouse – 1,469 credits o 6 Fight Actions by WhiteSelkie – 1,714 credits o Loop Fight Action by whiteswillinder – 1,004 credits Total = 4187 credits (approx £1.50) of my purchase.

service@paypal.com.hk

08/04/2011

To James Marley 8 Apr 2011 16:24:22 BST Receipt No: 4594-4650-5442-7769

Hello James Marley,

You sent a payment of £10.39 GBP to Metaverse Services Limited. This charge will appear on your credit card statement as payment to

James Marley

FdA Film Arts Film Arts Consolidation

PAYPAL *METAVERSESE. Merchant information Metaverse Services Limited support.metaverse@gmail.com +852 25010088 -----Description IMVU Credits 30000 Item no: 30000 to whizzkid1

Instructions to merchant None provided

Means of Postage Not specified Unit price

£10.39 GBP

Amount

Qty 1

£10.39 GBP

No: 4594-4650-5442-7769 Please keep this receipt number for future reference. You'll need it if you contact customer service at Metaverse Services Limited or PayPal. Final Aims & Objectives Using my 3D avatars I set up, designed & dressed, it is my aim to experiment in filming a scripted test scenario inspired from a early script for a major film (found on the Internet Movie Script Database), using a virtual room in the virtual world on IMVU 3D Chat. I will record the action & interaction of the avatars, I control, off of the computer screen or a projection via a projector attached to one of the computers.  The script I have now narrowed down to using is an early-unused version of the script for the film V for Vendetta (available on IMSDb) written by the Wachowski Brothers, focusing on the scene where V meets Evey.  To capture the action within the IMVU 3D Chat client I will record it using either a Z1 HD Camera (if available) or Screen Capture/Recorder Software.  I will dress my 3D avatars in suitable virtual clothes I have purchased from the IMVU Virtual Catalogue with credits that I have earned from doing free offers, instead of purchasing (as much as possible).

James Marley

FdA Film Arts Film Arts Consolidation

 This is intended as a test of working to a pre-arranged script, in order to lead me on to creating my “own” script on a further production when I go onto a more substantial film in the BA year.

5th April 2011 Shoot day (1) Equipment Mac book Pc laptop Data projector Sony HVR-Z1 HD camera + tripod Screen

At my home, as there are no Internet restrictions. I set up and opened the IMVU site, and sorted the first scenes. This takes a while as working between two computers and two avatars. My scene had been previously set. This was a Victorian street & an alley in the night. The computer image needed to be filmed, and I achieved this through using a data projector, and a quick makeshift screen of lining paper tapped to a bit of MDF board. The projector was really quite bright, but there might be a problem in picking out some of the low lit street detail one could see a lot more clearer on the computer screen. Some camera adjustments played with (ND filters I think… Am not totally savvy with the use of the z1) 31

James Marley

FdA Film Arts Film Arts Consolidation

Some camera techniques used although quite simplistic, as I was able to also change viewing angle and length of visual shot from the IMVU chat window itself. In filming it was important to identify what I was looking for in the shot (therefore identified director!) - And then adding a touch of creativeness - In filming the projection, I ensured that the brightness was sufficient for the camera to pick out the low light detail, but also as the projection was what was displayed on the computer screen, which showed a lot of peripheral activity / icons / mouse movement / speech bubbles etc - all essential to the development but not what I wanted on filmâ&#x20AC;Ś So using camera zoom and some basic panning we were able to eliminate screen business and peripherals. The job took quite a while to work, as I was working between three avatars (two at a time) and two computers, including character visual development and costume changes. So at the end of the day, I had filmed about two minutes of footage - which really was not bad, as it was only going to be a test shoot from the start. All in all, I feel that the footage looked much better quality and as it originally appeared on projection, when filmed with a DV Camera, as opposed to using a screen capture software. In realisation of the amount of time it was or is going to take to do the filming, I need to book a camera out for whole of Easter holidays - with prediction of another two whole days filming. Wednesday 6th April 2011 Issue of booking Z1 HD Camera for further filming When I went to book out the Z1 HD Camera for the whole of Easter from college ERC, we were unable to do so, as it, along with every other DV camera (HD & Standard), in the ERC had been booked out, by the rest of students for their own projects. Though in hindsight, knowing that others would also be filming over Easter, it would have been a good idea to book out the camera for longer than one day, when I first booked it on the Friday before.

James Marley

FdA Film Arts Film Arts Consolidation

Plan B “from no Z1 HD!” On realising that I wouldn’t be able to book out a Z1 HDV Camera for the whole of Easter with college closed too, I have resorted to using Tony’s (also doing the camera work) own Single-chip DV Camera, which I previously used in the Film Arts Practices assignment, in order to film the rest of the scenes for what I’ve named “Adventures In Virtual”. This time setting it to 16:9, for closer continuity to the first days shoot. Wednesday 4th May - 6th May 2011 Third format On filming with rather old make of DV Tape Camera I came to realise that it was not as clear quality as would have been the Z1 Camera, which was unavailable to me, I in the end decided to instead film it all again on my newer JVC HDD Video Camera (which was better quality & resolution) off of the projector screen (a white cut-out tray). Still setting it to 16:9. Wednesday 11th May – 13th May 2011 Viewing in Final Cut Pro When it came to viewing & editing the transferred & converted footage to Final Cut Pro, I began to notice another troublesome issue. That being that the footage was too flat & slightly overexposed due to reflected glare of the projector, as I was trying to make the projection as bright as possible, as it was a very dark scene / virtual room we were filming. Also there was a lot of light coming into the room even with thin blinds down, making the projection look even cloudier. In fact the footage came out so flat contrast & bright that when I tried colour correcting it, I found that although it helped remove the glare, I ended up losing a lot of the detail in dark backdrop

James Marley

FdA Film Arts Film Arts Consolidation

completely or that the dark clothed characters would blend in with the background. Due to this issue I have decided with the tutors’ advice to reshoot the whole scene again with a now available Z1 HDV which 1) has a better level of zoom, 2) picks up the low lit scene a lot better & with less grain, 3) built-in Neutral Density filters. On top of this I will this time ensure that no light from outside can get in at all, by covering the windows up with black or dark coloured non-transparent material. Also, on having another tutorial with Dan, it was suggested that I go back my earlier idea of using a screen recorder. This time on QuickTime Player’s own free screen recording feature, as this records & playback the action on screen at exactly the same quality, rate & look as it originally did on the desktop, but with out needing to worry about it playing back to slow, fast or poorer resolution unlike the Camstudio screen recorder which required playing around with playback & record frame rate, with no success. The only limitation with using the QuickTime Player’s screen recorder is that it only records the full screen, so will show everything I am interfacing with on screen, including the Desktop menu bar, IMVU screen icons / window border / direction & zoom controls / avatar action menu boxes. This may cause a problem when I zoom or pan in close up, as the direction arrows would be partly covering the characters, as they will be filling much of the screen too. Also Final Cut seems to have issues with this, so conversion needed first before import to there.

James Marley

FdA Film Arts Film Arts Consolidation

However, this can be, (if attempted) I feel overcome by me panning the interface (camera) further back on recording, so that if I edit it later I can make the shots I intend to have as close up shot by scaling up the footage via the motion controls on Final Cut.

On the days of final shoot attempt with Sony HVR-Z1 â&#x20AC;&#x201C; Tues 17th May & Friday 20st May When I came to actually reshoot on Z1 HDV, it was ingeniously thought up to project the computer detail into a mini studio light box made of non-reflective material & covered by a black cover to keep the daylight of the projection, in order for the whole scene to be clearly picked up by the camera. Although this helped keep the glare from projector being reflected of the material & improved the clarity of the projection being filmed, it still at first lost the very dark background when viewed on camera. However, this was solved by adjusting the light levels on the camera to bring up the background to a much better level with out losing clarity in the image. 27th May I had planned to get into a recording studio to record the script for this first scene. Additionally I had wanted to film the voice actors, with the V character wearing his appointed mask. This adding something a bit extra to my production. But the best laid plans of mice and menâ&#x20AC;Ś and me can and do go astray. To make this work to the best, I was trying to get a rough cut edit done using old and

James Marley

FdA Film Arts Film Arts Consolidation

inferior footage previously shot, this then would provide the visual timing for my voice actors to work from. The end truth of this small scenario is the actors were quite unavailable to attend the college for a recording session, and I in turn didn’t quite get that first roughcut edit completed. The actors did help me out, and recorded their script, and emailing it to me. I was still pleased with this, although not the best result, I understand that the ‘V’ dialogue is particularly hard to get right, as noted in the also sent audio outtakes!

From 20th May – Present… Post Production (editing, sound editing and design)  Arranging shot order This is my first & most vital task that needed to be sorted. Although much of what I filmed was shot in pre-planned shot order, there are some extra cut aways that aren’t necessary in the correct places on footage. This was particular so for some shots, as I booked a Z1 out for one extra day to get some extra shots & cut-aways that I felt I were missing. I guess what simplified this task was that I had already shot everything according the order set in the script, & my own shot list. After this what was now required more was to cut out all the wasted, bad shots & choose which takes of each shot to use in the ordered sequence. This is what took the most time up in edit.  Colour correction As already mentioned the scene I was working with from IMVU was a very dark & with a mostly black backdrop. This posed issues with the contrasts & pulling out any

James Marley

FdA Film Arts Film Arts Consolidation

background detail. Also with the data projector producing a diminished result, with grey detail fading into each other. When trying to colour correct this on Final Cut Pro, I firstly & wrongly tried to bring out the detail by raising the whites & mids, only to end up flattening out the contrast, so losing any punchy effect to the shots & characters faces as there was no extremes of light & dark. So, in the end I was left with having to sacrifice the detail in order to sharpen out the contrast between dark & light by increasing the black tones slightly, so giving a more dramatic chiaroscuro effect to the final look. ď&#x201A;ˇ Scaling up When viewing the shots on Final Cut Pro, I found that some of the shots I needed still had some of the peripheral tool and border features of IMVU appearing on the edge of the video screen. This I solved by simply scaling the shots up on the motion controls in order to hide the junk. Also, when capturing the footage there was a close shot up shot of my female (Evey) character near the beginning that it kept missing out, so in the end (Necessity being the mother of invention!) I used the mid shot of Evey that was originally intended for when she has her hands raised in surprise, and then scaled this up to give me the close up I intended for her early speech to the 1st Fingerman & also to hide the fact that the arms are raised before she even has anything to fear. ď&#x201A;ˇ Adjusting speeds There were a few sequences that I felt needed more emphasise on the actions, as they appeared too quick in real time, such as the punches & knife reveal. So, I slowly this down by 50% to make the punches points of impact on faces & revealing of knife more drawn out to create drama, as most viewers would expect for this action.

James Marley

FdA Film Arts Film Arts Consolidation

 Cutting music tracks & placing together Initially due to time constraints incurred by having to spend more time on reshooting the whole scene quite late into the project, all music was in the end sourced from College LRC’s music archive, as time was running short for creating my own composition. Once I found the dramatic or suspenseful music that I felt worked for the feel of the scene (taking the music used in the original film for inspiration), it was a simple task of cutting the music to the length required & placing together, in the correct matching order with the changing pace of the scene, (from all calm, to tension build-up, to all out fighting, to decreasing suspense & back to calm). All these were covered in 3 simple tracks. Promotion of my work / film  Relevant opportunities – How your film project might help you achieve your next step in your career – in educational context I have approached this work at an experimental level. It encompasses areas that relate to gaming & even Machinima (this is a combination of film making and game play – machine cinema). However, I have only used the parameters of IMVU to create a scene using standard film making techniques. Avatar movements and actions are recorded as live action. I feel that this again takes virtual film making to another level. The whole idea of using avatar actors and a virtual film set combined with recorded audio dialogue, sound scapes and Foley effects. For this project I experimented with pre-written scripts. To develop this further, and to claim some kind of original ownership to my idea I need to develop my own scripts, and collaborate with other skilled professionals either in game play or animation. This will increase the skill base for my next productions, and give me more time to work in the areas to which I am already proficient, e.g. editing.  Public exhibitions – initially I have uploaded my work line, using public access video sharing sites, such as Vimeo and You Tube. 38

James Marley

FdA Film Arts Film Arts Consolidation

http://vimeo.com/jamesmarley , http://www.youtube.com/user/japema597  How this is helping you to achieve your career aims - as I have previously mentioned, this is an experimental work. I have used someone else’s script, and adapted it, embellishing it with my own style. I feel that as yet it is not really ready for exhibitions – The finished work is really very useful in informing me on my approach to my degree work

Evaluation Idea The idea originally was to use still photographs, and montage together to create movement. This was inspired from one of my experimental pieces from the last assignment. Before this though I was thinking about producing something, which I had more control of from start to finish. Crewing on a bigger production would have been ok, but my previous work has led me to roles and positions that apart from editing have been physically demanding upon me. Eventually I decided that I would use something that I was already very familiar with, IMVU. Ideally it would have been good to attempt this with my own script, but I also realised that this would have taken some time to get together, especially as I had no pre-conceived ideas, as yet. IMVU and its interfacial capabilities were a useful platform for me to re-create a filmic scene, using virtual actors, on a virtual set. Development I found that this is a lot bigger that I thought. As producer I have had to develop my idea, as director and D.O.P. I have had to visually and physically construct my shots. As I decided to use a pre written / made scene of a known film, I have also found some difficulty translating this using the IMVU platform. There are

James Marley

FdA Film Arts Film Arts Consolidation

limitations in the movements, and as it is essentially a ‘dress up’ and chat site, the movements can appear to be quite quirky and jerky. Additionally, each movement takes a while to set up and execute. Scheduling Just as normal filmic processes demand a tight schedule, I feel that it was also important for me to create a schedule that tied in with my virtual approach. I still had to complete all the procedures recognised within normal filmic conventions; Planning / development / execution / filming / sound design / editing The schedule does work up to a point, but when things affect the schedule that are unforeseen, or not planned (i.e. not knowing that the equipment is available), the schedule gets re-planned, or reworked. For me It was useful as it acted like a diary, and kept me focused on timings. Although I know that there were certain tasks that took me longer that necessary, in related performance to real time working practice. If I had been working in a larger crew, the schedule would have more meaningful. Storyboard – script The IMVU platform offers not much in the way of controlled movement. There are basic moves that enable characters to interact with each other socially, romantically or aggressively. I decided quite early on that for the best filmic results it would be good to produce something of an action sequence. Therefore I decided to use the fighting ‘moves’ as a basis for my storyboards and script ideas. My research further had to be refined insomuch that I was limited on the number of characters that were going to be in the scene. Eventually I looked at the two scripts, mentioned in my journal – These were also scenes that I felt I could recreate using the IMVU platform – Further still narrowing down to V for Vendetta, as is far superior movie to emulate!

James Marley

FdA Film Arts Film Arts Consolidation

I had decided on my film, and with that to use the opening scene. There are two main characters, and up to three bit parts (finger men). I had already gained the use of two voice actors to portray the parts of V and Evey. I had found the script to the opening scene, and decided to work my storyboard around this, and then use the film as a style copy. This enabled me to be creative with subtle changes that didnâ&#x20AC;&#x2122;t appear in the film

Filming. Sony HVR-ZI (HD), Single chip mini dv, JVC Everio HDD, Screen capture filming (download software) I still wanted to follow filmic conventions, and record my sequences and shots, and therefore move it onto sounds and editing. I approached the filming from several different angles. As I was controlling all through using a Mac book and a laptop pc, I assumed I would need to use a data projector to project the screen image in order that I then film it (although much later I realised that there were perhaps other methods). My first attempts were made using a Z1 camera, but I soon realised that much of the college filming equipment had been pre booked by other students, therefore Plan B, which was to use low-fi equipment. This greatly affected the quality of the work, making it appear very grey and grainy. The Z1s produce a better result with much less grain. The biggest problem with filming I think is holding the detail in the background, whilst maintaining a nicely contrasting image. The quality of camera also makes the difference. Obvious best results gained from the Z1s, but out of necessity I did use various other lower quality cameras, and they produced low quality film or results. Using the HDD (Hard Disk) camera had advantages insomuch that being a disc camera, I had lots of space to record, 41

James Marley

FdA Film Arts Film Arts Consolidation

and immediate upload facility, but then this also is available on the z1 via a fire wire. Both basic cameras produced colour problems, giving my characters the ‘Simpsons’ feel with yellowing skin tones, but then I think this was also the result of the projector bulb. I also had a green glare to deal with. Another problem experienced in the early stages was the recording of too much data. I did manage to complete the whole scene on the lower grade cameras, to the point of edit. However, I had not carefully planned the shots at this stage, and ended up with over 40 minutes of footage to cut down to a 4 – 5 minute scene. I also examined the methods I was using to project using the data recorder. On the whole I realised that there was much too much external light in the area that I was working (my house), causing a diminished projection. I also examined the screens that I was projecting on to. Anything with even the slightest reflective surfaces caused much problem, as also any material or screen that appeared too dark. I realise that the projector might have reduced the quality of the output already, so projecting onto inadequate surfaces in a room that was too bright still continued to bring me problems. Eventually I discovered that projecting into a constructed darkened area (cave like experience) produced the best results. It was this cave experience combined with the z1 that I finally managed to get my shots together. In a much more planned and constructed shot order, that ensured that I didn’t have too much over and above the data I needed. The scene that I used is predominately dark with various shades of greys and blacks, so I think that this has been hard to film from the start. Using the Z1 enabled me to ‘tweak’ neutral density filters and F-stops. Ultimately I was looking to hold some of the detail that I had created on the virtual set whilst keeping the results somewhat punchy in contrast. Another method that I could have used software designed for filming ‘screen action’ but I found these difficult to understand and manipulate, although I also realise that they would have produced the best results, visually. 42

James Marley

FdA Film Arts Film Arts Consolidation

Editing Although seemingly simple to edit, this part of the process has taken more time than I anticipated. I filmed in sequential order, to simplify some parts of editorial. Issues with colour – as mentioned earlier, the projection image distorted the true colour scene as seen on the computer. They appeared faded and yellow. Black and white – or contrast. Again probably due to it being projected, the resulting image was very grey. Although it held some of the background detail that I was trying to show, I had to sacrifice it to try to get the clarity back in the characters, as they would have appeared on the computer screen Synchronising sound – Originally I had wanted for my voice actors to record their dialogue whilst watching a rough cut, to ensure that the timing would work. However, this failed to happen this way. My original plan was to just have the voice over happen without visually seeing the characters move their mouths. This being an easy option as no obvious sync was necessary. I later realised that it would be better to control the avatars in speaking movements, and then try to sync the dialogue. This actually gave a better look to the film. As the movements are artificial and constructed, the viewer only has to assume that the characters are “really” saying the actual words, and I feel that this looked ok. Sound design – The original film presents with a really good soundscape. I thought about directly using this on top of my virtual reality version, but quickly realised that my version was very different, in length, shot sequence and script dialogue. I also felt that it would be quite unprofessional to do this. This led me to using royalty free music. This enabled me to create my own dramatic feel to the scene, whilst still in keeping with the original tone. Further to this I tried to add some Foleys, although I feel these need a little more work and imagination. Taking the idea forward This has only ever been an experiment. To further the idea, and to make it much more owned and wholesome, I would like to generate a story or idea myself, instead of developing or using pre- written scripts and scenes. For this purpose I have some previous ideas that I could possibly take to fruition. 43

James Marley

FdA Film Arts Film Arts Consolidation

I have always liked the idea of documentary filming, so perhaps use the platform of IMVU to visually output sensitive issues.. I had not previously thought about using animation in film arts. It has proved to me that in doing so I am able to take a lot of the control, but still need to work with others. The amount of tasks that I have undertaken to complete this has been phenomenal, for me. Therefore I think I would be keen to collaborate, this enhances the skill base, and lightens the workload.

James Marley

FdA Film Arts Film Arts Consolidation

ACKNOWLEDGEMENTS 

IMVU - http://www.imvu.com/

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Wachowski Brothers (V for Vendetta 2007)

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Ronald Shusett (Total Recall script fifth revision 1990)

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IMSDb - http://www.imsdb.com/

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myYearbook - http://www.myyearbook.com/