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It's difficult to see in the thumbnails, but I've blotted out the background with a few filters. This photo was already pretty sharp, but too busy. It looks much better with the darker dirt.
This project was centered around rhetoric. This portion of the class was focused on how to manipulate language and imagery to produce results congruent with your ideas. We were told to pick a project that someone else in the class had done, but that I had not yet done within the program. I chose to create a series of title cards to a movie, which then morphed slightly to an intro sequence to a movie because of context. I started off almost immediately knowing which movie I wanted to add to and why. The Hunger Games is the movie I chose because the intro sequence, to me, is inconsistent with the rest of the movie. I wanted to create an intro sequence that involved the viewer as if they were a spectator of the Hunger Games, rather than boring them with text on a screen.
The current intro sequence to the Hunger Games involves a fade-in fade-out of white text, in a strangely chosen rounded typeface, on a black background. To me this seems lazy, because the movie clearly had a large budget. It is definitely not my favorite movie, but it deserved a better intro sequence bar none, so I decided to give it a face lift.
My initial idea turned out to be rather inconsistent with the movie as well. I began with the idea of creating a Saul Bass inspired intro sequence, but the cut out shapes that he is known for contrasted from the dark reality of the movie. I needed an idea that could convey that this was a TV show meant as entertainment, while still being a death match against children. It needed to be creepy in a different way than I had originally planned, so I scrapped my idea and started from scratch by writing down 5 words that I wanted this intro sequence to convey: Spectacle, Dystopia, Control, Fear, Inescapable. Using these 5 words, I made a series of stills that were congruent with the graphic style used in the movie, as well as playing off of the movies key features. The fuzzy screen in the beginning of the sequence with the Capitol logo and scrolling text is meant to be one of the projected screenings of the Hunger Games seen within the movie in the poorer districts. The typeface is cold and commanding like the content of the text itself, which I paired with a cold, yet lively cyan color seen throughout the intro and the rest of the movie. Showing the viewer this instantly brings them into the movie as a part of the Games. They are a spectator. They will be viewing these children killed for sport as entertainment, and I think this will find the audience with a sense of grief and guilt that was not present in the original passive text. Overall I think this solution is much more effective than the original, and sets the overall tone for the movie quicker and more efficiently.
In a future where technology has advanced to the point of merging different lifeforms, a new kind of being has emerged. These beings, known as "Chloro-Humans," are a unique blend of human, machine, and plant. They are able to produce vast amounts of energy by absorbing sunlight and water, making them highly efficient and self-sustaining.
One of the most remarkable features of the Chloro-Humans is their ability to communicate with plants. They are able to sense the movements and needs of the plants around them, and respond accordingly. This ability makes them highly valuable in areas where plant life is abundant, such as forests.
The Chloro-Humans are mainly deployed as first defense and security guards in these areas, due to their camouflage abilities. They are able to blend in with their surroundings, making them nearly impossible to detect. Their sense of vast amounts of area movements and quick reaction times make them ideal for this role.
Giant versions of the Chloro-Humans have also been developed. These larger versions are able to move surprisingly quickly, despite their size. They are often used as heavy-duty security guards, able to patrol large areas and respond quickly to any threats.
The Chloro-Humans' cloaking abilities are also a result of their unique genetic makeup. They are able to manipulate the chlorophyll in their skin to change color and blend in with their surroundings. They can also manipulate the light that reflects off their skin to make them virtually invisible. This technology has been developed with the use of advanced artificial intelligence algorithms that work to mimic the way plants interact with their environment.
The Chloro-Humans are a remarkable development in the field of biotechnology, and a testament to the power of technology to merge different lifeforms. However, their deployment raises ethical concerns about the use of living beings as security guards and the manipulation of living beings for military purposes. The question of whether or not these beings should be considered as living entities with rights or as mere tools for military use is a complex one. Some argue that since they are a hybrid of human, plant and machines they should be considered as a new kind of life form that should have rights.
Another concern is the potential for the Chloro-Humans to be weaponized. Their abilities make them formidable opponents in battle, and the idea of using them as soldiers raises serious moral and ethical questions about the value of human and non-human life in war.
Additionally, their deployment in areas like forests raises questions about the impact on natural ecosystems and the delicate balance of plant and animal life. The Chloro-Humans' ability to manipulate the plants around them could have unintended consequences for the surrounding environment.
As the world continues to change and evolve, it is important to consider the ethical implications of advanced technology like the Chloro-Humans, and ensure that it is used in a responsible and humane way. It is also essential to keep in mind the long-term impact on natural ecosystems and to consider the rights of all living beings that may be affected by the deployment of these lifeforms.
GLENDALE, AZ: Country Music Superstar Kenny Chesney and his Summer Stadium tour stopped at University of Phoenix Stadium on May 31st.
Mr. Yang Lai Hao, owner/leader of the Sin Hoe Ping Puppet Troupe manipulating the puppet of Sun Wukong.
T-type manipulator is divided into electric servo type and full pneumatic type. Compressed air or 380V power supply is used as the power source, and the maximum weight can be increased by 900kg. The action is fast, accurate and safe. It is suitable for all kinds of repeated, fast and continuous operations.
The fixture is generally equipped with clamp type, inflatable head and magnet type, which can easily carry objects in various ways. It can easily cover a wide range of working areas with KBK or aluminum alloy track. This kind of equipment is widely used in workplaces requiring rapid handling and accurate assembly, which greatly improves the work efficiency and reduces the labor intensity of workers, and can bring you high productivity.
Photos manipulation and positioning - ArtStudio
Colors adjustments, posterizing and inner glow - Photogene
I was bored decided what I might do for a different selfie to show my "happy" side with how the Pennsylvania spring had been going... you know, cold, wet....
Warner Brothers artist Joseph Yakovetic was commissioned for artwork for Gone With the Wind's 70th anniversary at Marietta's exclusive celebration of the film as part of the city's 175th birthday.
This city of Marietta photograph is being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, e-mails, products or promotions that in any way suggests approval or endorsement of the city of Marietta, its elected officials or staff. Publication of this photograph must include a credit: "Photo courtesy of the city of Marietta."
Manipulated sky over University Center and Storke Tower at the University of California, Santa Barbara.
Alot of color was lost in the scan, perhaps an investment in a better scanner is at hand....
SX-70 Alpha 1
Artistic Time-Zero Film (Hand Manipulated)
The kit hands are huge and not molded terribly well. Bandai's house brand B-Club resin HDM "1/144 Zeon B-2 Dom 2" manipulators will be used.
Rework of larryosan's Welcome-to-America for the Manipulate This group.
Click for animation or scroll down.
